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 New Zealand and from Portland.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Lille and Copenhagen.
I'm losing my edge to the art-school Paris 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the clarinet sounds with much patience.
I was there when Nile Rodgers 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 Bill Near to the dance kids.
I played it at the Hacienda.
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 The Evens. All the underground hits.
All Von Mondo tracks. I heard you have a vinyl of every Jawbox record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Minny Pops record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bluetip,
Gil Scott-Heron and Jamie xx,
Deepchord,
Ultravox,
Roxy Music,
Brothers Johnson,
Strawberry Alarm Clock,
The Moody Blues,
Basic Channel,
The Dave Clark Five,
New York Dolls,
Depeche Mode,
Skriet,
Jeff Lynne,
Eric Copeland,
The Slackers,
Davy DMX,
Q65,
World's Most,
cv313,
Kaleidoscope,
UT,
The Motions,
Bauhaus,
Wighnomy Brothers & Robag Wruhme,
Reuben Wilson,
Dead Boys,
Scientists,
Kas Product,
Marc Romboy vs. Booka Shade,
Mars,
The Move,
Intrusion,
Black Bananas,
The West Coast Pop Art Experimental Band,
June Days,
Alison Limerick,
The Alarm Clocks,
Harmonia,
Tim Buckley,
Echospace,
Camberwell Now,
Shoche,
Siglo XX,
Derrick Morgan,
Aswad,
The Fire Engines,
Ash Ra Tempel,
The Busters,
The Young Rascals,
Radio Birdman,
Mary Jane Girls,
Mission of Burma,
Warren Ellis,
Newcleus,
James Chance & The Contortions,
Goldenarms,
Joe Smooth,
Alton Ellis,
B.T. Express,
Loose Ends,
Traffic Nightmare,
Major Organ And The Adding Machine,
Sound Behaviour, Sound Behaviour, Sound Behaviour, Sound Behaviour.
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.