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 Senegal and from Philadelphia.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1974.
I'm losing my edge.
To all the kids in Philadelphia and Shanghai.
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 snare 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 Main Source to the disco 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 Joyce Sims. All the underground hits.
All Davy DMX tracks. I heard you have a vinyl of every Parry Music 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 '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Buzzcocks record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kango’s Stein Massive,
Carl Craig,
Basic Channel,
Soul II Soul,
Jandek,
Cal Tjader,
Loose Ends,
cv313,
Spandau Ballet,
Tubeway Army,
Yellowson,
Junior Murvin,
Blancmange,
Gang of Four,
Wighnomy Brothers & Robag Wruhme,
Gary Puckett & The Union Gap,
T.S.O.L.,
Supertramp,
Deutsch Amerikanische Freundschaft,
Rosa Yemen,
Justin Hinds & The Dominoes,
Amon Düül II,
Kurtis Blow,
Grey Daturas,
The Slits,
The Buckinghams,
Red Lorry Yellow Lorry,
Barclay James Harvest,
Marc Romboy vs. Booka Shade,
The Remains,
Ultra Naté,
Susan Cadogan,
The Monks,
Magazine,
Monolake,
Can,
The Vogues,
Juan Atkins,
Intrusion,
Radiohead,
Lakeside,
Hot Snakes,
Traffic Nightmare,
Visage,
CMW,
Ludus,
Lizzy Mercier Descloux,
Amazonics,
Metal Thangz,
Das Ding,
Echospace,
A Flock of Seagulls,
James White and The Blacks,
Ponytail,
Scott Walker + Sunn O))),
Adolescents,
Fat Boys,
Kerrie Biddell,
Aswad,
Vaughan Mason & Crew,
Crispy Ambulance,
Rowland S Howard / Lydia Lunch,
The Smiths, The Smiths, The Smiths, The Smiths.
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.