Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Niger and from Houston.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1969 to 1978.
I'm losing my edge.
To all the kids in Milan and Columbus.
I'm losing my edge to the art-school Bremen kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the organ sounds with much patience.
I was there when Captain Beefheart started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Joyce Sims to the disco kids.
I played it at the Crocodile.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Peter and Kerry. All the underground hits.
All Andrew Ashong & Theo Parrish tracks. I heard you have a vinyl of every Roger Hodgson record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a theremin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Kurtis Blow record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
PIL,
Kerri Chandler,
Marmalade,
Lyres,
Wally Richardson,
Notorious BIG live in Amsterdam,
Dorothy Ashby,
DJ Style,
Dawn Penn,
B.T. Express,
Radiopuhelimet,
Crash Course in Science,
Mad Mike,
The Invisible,
Easy Going,
Metal Thangz,
Royal Trux,
Buzzcocks,
Lee Hazlewood,
Sly & The Family Stone,
The Saints,
Lou Reed & John Cale,
Sonny Sharrock,
Crispy Ambulance,
MC5,
Deutsch Amerikanische Freundschaft,
Bootsy's Rubber Band,
Matthew Bourne,
John Foxx,
Jacques Brel,
Nick Cave & The Bad Seeds,
Boz Scaggs,
Brothers Johnson,
Dave Gahan,
the Slits,
Gil Scott-Heron and Jamie xx,
Fluxion,
The United States of America,
Neu!,
Ultimate Spinach,
Audionom,
Trumans Water,
The Slackers,
Rakim,
The Skatalites,
Fort Wilson Riot,
Roger Hodgson,
Crooked Eye,
Agent Orange,
Carl Craig,
the Swans,
Model 500,
June Days,
Matthew Halsall,
Moby Grape,
Joey Negro,
F. McDonald,
Warsaw,
The Beau Brummels,
Super Lover Cee & Casanova Rud,
Angry Samoans, Angry Samoans, Angry Samoans, Angry Samoans.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.