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 Korea North and from Accra.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Johannesburg and Manila.
I'm losing my edge to the art-school Tehran 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 1978 at the first Visage practice in a loft in London.
I was working on the mellotron sounds with much patience.
I was there when Tom Verlaine 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 Amon Düül to the techno kids.
I played it at CBGB's.
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 Urselle. All the underground hits.
All Motorama tracks. I heard you have a vinyl of every Scott Walker 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 '80s cut and another box set from the '90s.
I hear you're buying a clarinet and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Ronnie Foster record.
I hear that you and your band have sold your oboe and bought a snare.
I hear that you and your band have sold your snare and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Remains,
Pole,
Jacques Brel,
Deakin,
Bizarre Inc.,
Pharoah Sanders,
Bobby Hutcherson,
The Gories,
Black Bananas,
Dark Day,
The Standells,
Country Teasers,
Rhythm & Sound,
The Electric Prunes,
the Soft Cell,
Skaos,
John Lydon,
KRS-One,
Gang Gang Dance,
Desert Stars,
Eric B and Rakim,
Radiohead,
Sugar Minott,
Joe Finger,
Mission of Burma,
Lafayette Afro Rock Band,
Bronski Beat,
Nirvana,
Popol Vuh,
Country Joe & The Fish,
Section 25,
Electric Prunes,
The Monochrome Set,
Lonnie Liston Smith,
Japan,
Bob Dylan,
Robert Görl,
Monolake,
Smog,
B.T. Express,
The Music Machine,
Jawbox,
MDC,
Hasil Adkins,
Wighnomy Brothers & Robag Wruhme,
Neu!,
John Cale,
Manfred Mann's Earth Band,
Deepchord,
Barbara Tucker,
Pere Ubu,
The Chocolate Watch Band,
Ice-T,
The Smoke,
David Bowie,
Radiopuhelimet,
Minor Threat,
Radio Birdman,
Lebanon Hanover,
Unrelated Segments,
A Flock of Seagulls,
Richard Hell and the Voidoids, Richard Hell and the Voidoids, Richard Hell and the Voidoids, Richard Hell and the Voidoids.
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.