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 Dominican Republic and from Calgary.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Bremen and Bremen.
I'm losing my edge to the art-school Madrid 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the theremin sounds with much patience.
I was there when Lou Reed 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 Jerry's Kids to the disco kids.
I played it at Trash.
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 Brass Construction. All the underground hits.
All Derrick Morgan tracks. I heard you have a vinyl of every The Velvet Underground record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a linndrum and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-102,
Jerry's Kids,
Shuggie Otis,
Tres Demented,
Rhythm & Sound,
Tommy Roe,
Kenny Larkin,
Heavy D & The Boyz,
Agent Orange,
Underground Resistance,
Gang Green,
Aaron Thompson,
Grey Daturas,
Graham Central Station,
Smog,
Deutsch Amerikanische Freundschaft,
Super Lover Cee & Casanova Rud,
Flamin' Groovies,
New York Dolls,
Nation of Ulysses,
Colin Newman,
The Smoke,
The Dirtbombs,
David Axelrod,
Notorious Big And Bone Thugs,
The Raincoats,
Pere Ubu,
a-ha,
The Knickerbockers,
Sällskapet,
The Stooges,
The Fortunes,
The Skatalites,
The Cure,
Banda Bassotti,
Ronnie Foster,
Major Organ And The Adding Machine,
Curtis Mayfield,
Negative Approach,
The Wake,
Q65,
Pharoah Sanders,
Skarface,
Sugar Minott,
Soul II Soul,
Orchestral Manoeuvres in the Dark,
Mandrill,
Jesper Dahlback,
Leonard Cohen,
Youth Brigade,
The Trojans,
The Names,
Jesper Dahlbäck,
Faraquet,
LL Cool J,
John Foxx,
The Selecter,
Manfred Mann's Earth Band,
Archie Shepp,
Eve St. Jones,
L. Decosne, L. Decosne, L. Decosne, L. Decosne.
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.