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 Peru and from Madrid.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Seoul and Paris.
I'm losing my edge to the art-school Bologna 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the guitar 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 Unwound to the grime kids.
I played it at the Troubador.
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 Erasure. All the underground hits.
All Bush Tetras tracks. I heard you have a vinyl of every Neu! record on German import.
I heard that you have a white label of every seminal crunk 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 a harpsichord and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Urselle record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joensuu 1685,
Pylon,
Chris Corsano,
Aural Exciters,
Procol Harum,
The Gories,
Gabor Szabo,
Tim Buckley,
Lower 48,
The Sonics,
Barrington Levy,
Glenn Branca,
Japan,
Joe Smooth,
Babytalk,
The Slits,
Wighnomy Brothers & Robag Wruhme,
Art Ensemble Of Chicago,
Mantronix,
Hasil Adkins,
Pete Rock & C.L. Smooth,
Guru Guru,
Jerry Gold Smith,
Ronan,
Bootsy's Rubber Band,
Make Up,
the Swans,
The Red Krayola,
The Seeds,
Spandau Ballet,
The West Coast Pop Art Experimental Band,
Livin' Joy,
Minnie Riperton,
Eric B and Rakim,
Howard Jones,
Deepchord,
Infiniti,
Yusef Lateef,
Maurizio,
The Residents,
Organ,
Ossler,
Urselle,
Hot Snakes,
Motorama,
Man Eating Sloth,
Animal Collective,
The Golliwogs,
The Knickerbockers,
Gerry Rafferty,
DJ Style,
New Age Steppers,
The Move,
Sunsets and Hearts,
Archie Shepp,
Marine Girls,
Niagra,
Be Bop Deluxe,
Soulsonic Force,
Eurythmics,
JFA,
The Blackbyrds,
Scott Walker, Scott Walker, Scott Walker, Scott Walker.
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.