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 Taiwan and from Seoul.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Madrid and London.
I'm losing my edge to the art-school Houston 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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the linndrum sounds with much patience.
I was there when Donald Fagen 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 Minor Threat to the rap 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 Zero Boys. All the underground hits.
All Gregory Isaacs tracks. I heard you have a vinyl of every Motorama 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 '80s cut and another box set from the '80s.
I hear you're buying a synthesizer and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Glambeats Corp. record.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DNA,
UT,
The Zeros,
Dawn Penn,
Pharaoh Sanders and the Fire Engines,
the Human League,
the Sonics,
Jesper Dahlbäck,
Public Enemy,
Simply Red,
Lalann,
Siouxsie and the Banshees,
Nik Kershaw,
Leonard Cohen,
Oneida,
Country Joe & The Fish,
Au Pairs,
John Coltrane,
The Jesus and Mary Chain,
Nils Olav,
Goldenarms,
Colin Newman,
Tres Demented,
Ponytail,
Crooked Eye,
Warsaw,
Beasts of Bourbon,
Lou Reed,
Lebanon Hanover,
Peter Gordon & Love of Life Orchestra,
Crime,
Groovy Waters,
Gastr Del Sol,
Sun City Girls,
Lonnie Liston Smith,
Cymande,
Chris & Cosey,
The Vogues,
Terry Callier,
Brand Nubian,
Alphaville,
Bang on a Can All-Stars,
Selector Dub Narcotic,
James Chance & The Contortions,
Bill Near,
Angry Samoans,
The Flesh Eaters,
The Blues Magoos,
ABC,
Subhumans,
Jesper Dahlback,
EPMD,
Eve St. Jones,
the Bar-Kays,
Lightning Bolt,
Crash Course in Science,
Ultra Naté,
Sonny Sharrock,
Stockholm Monsters,
The Pop Group,
Radio Birdman,
Pantytec,
Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch.
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.