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 Ukraine 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 1965 to 1973.
I'm losing my edge.
To all the kids in Tehran and Salvador.
I'm losing my edge to the art-school Columbus 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the rhodes sounds with much patience.
I was there when Michael McDonald 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 Barrington Levy to the funk kids.
I played it at CBGB's.
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 Cure. All the underground hits.
All The Gap Band tracks. I heard you have a vinyl of every Flamin' Groovies 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 '50s cut and another box set from the '90s.
I hear you're buying a harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a DNA record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Easy Going,
Unwound,
Adolescents,
Outsiders,
China Crisis,
The Doors,
ABC,
Royal Trux,
K-Klass,
Mr. Review,
Rowland S Howard / Lydia Lunch,
Glambeats Corp.,
Eurythmics,
Delon & Dalcan,
The Sonics,
The Flesh Eaters,
Wire,
Brand Nubian,
The Slits,
Mandrill,
Kurtis Blow,
Lindisfarne,
Gian Franco Pienzio,
Oppenheimer Analysis,
Leonard Cohen,
David Bowie,
Ken Boothe,
Soft Machine,
Notorious Big And Bone Thugs,
Eric B and Rakim,
The Count Five,
Althea and Donna,
Erasure,
Sandy B,
Alton Ellis,
Technova,
Marmalade,
Stereo Dub,
Buzzcocks,
Sticky Fingaz feat. Raekwon,
Yazoo,
Nick Cave & The Bad Seeds,
Dark Day,
John Foxx,
The Associates,
The Smiths,
Louis and Bebe Barron,
Ohio Players,
Orchestral Manoeuvres in the Dark,
Matthew Halsall,
Kenny Larkin,
the Soft Cell,
Be Bop Deluxe,
Arthur Verocai,
Moby Grape,
Make Up,
Ice-T,
Faraquet,
KRS-One,
Ten City,
Reagan Youth,
Cecil Taylor, Cecil Taylor, Cecil Taylor, Cecil Taylor.
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.