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 East Timor and from Bologna.
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 1975.
I'm losing my edge.
To all the kids in Milan and Madrid.
I'm losing my edge to the art-school Taipei 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 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 Lightning Bolt to the dance kids.
I played it at the Astoria.
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 Todd Terry. All the underground hits.
All La Düsseldorf tracks. I heard you have a vinyl of every Oneida record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a 808 and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Marmalade record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blossom Toes,
The Grass Roots,
Dark Day,
Kenny Larkin,
Orchestral Manoeuvres in the Dark,
Lalann,
Funky Four + One,
the Slits,
Terror Squad Feat. Camron,
The Walker Brothers,
The Martian,
Stiv Bators,
Fela Kuti,
Quando Quango,
The Standells,
Warren Ellis,
Neil Young,
Roxette,
Bang On A Can,
Man Parrish,
Dual Sessions,
Ultimate Spinach,
The Trojans,
The Fortunes,
Tim Buckley,
Whodini,
T.S.O.L.,
K-Klass,
Connie Case,
Gregory Isaacs,
Boredoms,
Sonny Sharrock,
China Crisis,
Roxy Music,
Babytalk,
Robert Görl,
Suburban Knight,
Suicide,
John Coltrane,
F. McDonald,
EPMD,
Oneida,
Thompson Twins,
The Gories,
Röyhkä ja Rättö ja Lehtisalo,
Robert Hood,
Von Mondo,
Larry & the Blue Notes,
Captain Beefheart & His Magic Band,
Jeru the Damaja,
Crispian St. Peters,
The Royal Family And The Poor,
Ronan,
Lower 48,
Bootsy Collins,
Radiohead,
Model 500,
Kauko Röyhkä ja Narttu,
Lou Reed & Metallica,
Intrusion,
The Mummies,
Bang on a Can All-Stars,
the Fania All-Stars, the Fania All-Stars, the Fania All-Stars, the Fania All-Stars.
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.