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 Nigeria and from Milan.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Spokane and Calgary.
I'm losing my edge to the art-school Delhi 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 marimba 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 Wire to the jazz kids.
I played it at the Spitz.
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 Faraquet. All the underground hits.
All Slick Rick tracks. I heard you have a vinyl of every Electric Prunes record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Fear record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Monolake,
Au Pairs,
Manfred Mann's Earth Band,
Throbbing Gristle,
The Dirtbombs,
Newcleus,
Chris Corsano,
Yaz,
The Doors,
Ituana,
Pierre Henry,
New York Dolls,
Derrick May,
Kenny Larkin,
Lonnie Liston Smith,
D'Angelo,
Ultramagnetic MC's,
Eurythmics,
Jacob Miller,
Simply Red,
Dead Boys,
Kings Of Tomorrow,
The Kinks,
Sexual Harrassment,
The Stooges,
The Jesus and Mary Chain,
Bang On A Can,
Pagans,
The Dead C,
Technova,
The Modern Lovers,
James White and The Blacks,
Angry Samoans,
Chrome,
Super Lover Cee & Casanova Rud,
Alison Limerick,
Spandau Ballet,
Fear,
The Star Department,
The Sisters of Mercy,
Lalo Schifrin,
Fatback Band,
Andrew Ashong & Theo Parrish,
Skaos,
Visage,
Country Teasers,
Aloha Tigers,
Pylon,
Glenn Branca,
Heaven 17,
Joensuu 1685,
Deutsch Amerikanische Freundschaft,
Lou Reed & Metallica,
Q65,
Sun City Girls,
Outsiders,
Kaleidoscope,
Aaron Thompson,
The Invisible,
Bill Wells,
The Gun Club,
Avey Tare,
FM Einheit,
The Black Dice, The Black Dice, The Black Dice, The Black Dice.
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.