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 Tunisia and from Lyon.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Mumbai and Lagos.
I'm losing my edge to the art-school Bremen 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 sitar sounds with much patience.
I was there when Robert Palmer 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 Dennis Brown to the techno kids.
I played it at the 40 Watt.
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 Black Pus. All the underground hits.
All Tomorrow tracks. I heard you have a vinyl of every One Last Wish record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Smiths record.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nas,
Circle Jerks,
Fear,
Electric Light Orchestra,
Notorious BIG live in Amsterdam,
David Axelrod,
James White and The Blacks,
Fluxion,
Mars,
Half Japanese,
Dorothy Ashby,
Angry Samoans,
Malaria!,
Minnie Riperton,
Faraquet,
Spoonie Gee,
Traffic Nightmare,
Mantronix,
Urselle,
Adolescents,
Liaisons Dangereuses,
The Searchers,
Joyce Sims,
Kool G Rap & DJ Polo,
The United States of America,
Girls At Our Best!,
Ultimate Spinach,
cv313,
Soft Cell,
The Sisters of Mercy,
Mr. Review,
Little Man,
Ralphi Rosario,
Scientists,
The Modern Lovers,
The Slackers,
Judy Mowatt,
The Last Poets,
B.T. Express,
Sixth Finger,
John Cale,
The Golliwogs,
Sun Ra,
The Offenders,
KRS-One,
The Martian,
The Gladiators,
Interpol,
Marc Romboy vs. Booka Shade,
Arcadia,
Suburban Knight,
The Doors,
Procol Harum,
Q65,
Visionaries,LMNO, T- Love & Iriscience,
Youth Brigade,
Can,
Hardrive,
Al Stewart,
These Immortal Souls,
Excepter,
E-Dancer,
Fugazi,
Crime, Crime, Crime, Crime.
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.