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 Comoros and from Houston.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Taipei and Madrid.
I'm losing my edge to the art-school Tehran 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the marimba sounds with much patience.
I was there when Holger Czukay 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 The Golliwogs to the jazz 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 Kas Product. All the underground hits.
All Infiniti tracks. I heard you have a vinyl of every Zapp record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a linndrum and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Agitation Free record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Names,
Sandy B,
Siglo XX,
Blake Baxter,
Drexciya,
The American Breed,
Nico,
Wire,
The Cramps,
Suburban Knight,
Bad Manners,
Lou Reed & John Cale,
R.M.O.,
Bronski Beat,
The Angels of Light,
Crash Course in Science,
The Mojo Men,
Pierre Henry,
Ornette Coleman,
Hasil Adkins,
Kerri Chandler,
Black Sheep,
Theoretical Girls,
Sex Pistols,
The Stooges,
Kerrie Biddell,
Shuggie Otis,
A Flock of Seagulls,
Absolute Body Control,
Hoover,
The Techniques,
Gian Franco Pienzio,
The Star Department,
The Men They Couldn't Hang,
Roger Hodgson,
Eric Dolphy,
Y Pants,
Anakelly,
The Moody Blues,
Rapeman,
Ossler,
Faust,
Q and Not U,
Todd Terry,
Joe Finger,
Underground Resistance,
Crooked Eye,
Avey Tare & Kría Brekkan,
John Lydon,
Boz Scaggs,
Barrington Levy,
Barclay James Harvest,
Richard Hell and the Voidoids,
Gang Starr,
Newcleus,
Nirvana,
Hot Snakes,
Joe Smooth,
New Age Steppers,
10cc,
The Alarm Clocks, The Alarm Clocks, The Alarm Clocks, The Alarm Clocks.
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.