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 Macedonia and from Winnipeg.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1976.
I'm losing my edge.
To all the kids in Johannesburg and Sao Paulo.
I'm losing my edge to the art-school Johannesburg 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 chamberlin sounds with much patience.
I was there when Captain Beefheart 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 Derrick Morgan 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 The Barracudas. All the underground hits.
All Gichy Dan tracks. I heard you have a vinyl of every The Residents 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 '80s.
I hear you're buying an oboe and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Gregory Isaacs record.
I hear that you and your band have sold your marimba and bought a güiro.
I hear that you and your band have sold your güiro and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Laurel Aitken,
Alice Coltrane,
Mark Hollis,
Joy Division,
Joey Negro,
The Mighty Diamonds,
Vladislav Delay,
Joyce Sims,
The Doobie Brothers,
Girls At Our Best!,
Scan 7,
Joe Smooth,
Young Marble Giants,
Deakin,
Spandau Ballet,
Massinfluence,
Country Joe & The Fish,
Alphaville,
Yazoo,
Roy Ayers Ubiquity,
Blancmange,
Sällskapet,
Bobby Sherman,
Susan Cadogan,
Popol Vuh,
Kauko Röyhkä ja Narttu,
Camron Feat. Memphis Bleek And Beenie Seigel,
Hashim,
Gang Gang Dance,
Captain Beefheart & His Magic Band,
Jandek,
Altered Images,
Procol Harum,
Liaisons Dangereuses,
Sun Ra Arkestra,
Buzzcocks,
Arab on Radar,
Symarip,
Sister Nancy,
Bauhaus,
Inner City,
Moby Grape,
A Flock of Seagulls,
Throbbing Gristle,
Lower 48,
New Age Steppers,
Fatback Band,
James White and The Blacks,
Unwound,
Fear,
Teenage Jesus and the Jerks,
Nirvana,
Jawbox,
Grauzone,
Lakeside,
48th St. Collective,
Electric Prunes,
The Monks,
Vainqueur,
The Beau Brummels,
Stereo Dub,
The Wake,
Bootsy Collins,
The Pop Group, The Pop Group, The Pop Group, The Pop Group.
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.