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 Argentina and from Lille.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Milan and Johannesburg.
I'm losing my edge to the art-school Lyon 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the snare sounds with much patience.
I was there when Holger Czukay 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 Ash Ra Tempel to the rock kids.
I played it at the 40 Watt.
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 Barrington Levy. All the underground hits.
All Lizzy Mercier Descloux tracks. I heard you have a vinyl of every Quando Quango record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Stereo Dub record.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultravox,
Spandau Ballet,
The Red Krayola,
David McCallum,
The Fortunes,
The Index,
8 Eyed Spy,
Ralphi Rosario,
Quantec,
Derrick Morgan,
Bootsy Collins,
Excepter,
The Cosmic Jokers,
Man Parrish,
Harmonia,
Neu!,
World's Most,
Todd Rundgren,
Pete Rock & C.L. Smooth,
The Grass Roots,
Scientists,
The Music Machine,
Jandek,
Selector Dub Narcotic,
Quadrant,
Supertramp,
Los Fastidios,
LL Cool J,
H. Thieme,
Tears for Fears,
48th St. Collective,
Chrome,
Bill Wells,
London Community Gospel Choir,
Marshall Jefferson,
Das Ding,
Pulsallama,
Eli Mardock,
Lalann,
Desert Stars,
Massinfluence,
The Remains,
Underground Resistance,
Eric B and Rakim,
Sight & Sound,
Kool Moe Dee,
Orchestral Manoeuvres in the Dark,
Erasure,
Stockholm Monsters,
Roxette,
Dawn Penn,
R.M.O.,
Angry Samoans,
Sixth Finger,
Warren Ellis,
Ponytail,
Morten Harket,
John Cale,
Audionom,
Yazoo,
The Residents,
The Slackers, The Slackers, The Slackers, The Slackers.
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.