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 Angola and from Lille.
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 1975.
I'm losing my edge.
To all the kids in Tehran and Calgary.
I'm losing my edge to the art-school Glasgow 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the oboe sounds with much patience.
I was there when Nile Rodgers 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 Joe Finger to the rap kids.
I played it at the Spitz.
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 Desert Stars. All the underground hits.
All Deepchord tracks. I heard you have a vinyl of every Prince Buster 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 '80s cut and another box set from the '90s.
I hear you're buying a sitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Eyeless In Gaza record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soft Cell,
Wolf Eyes,
Jawbox,
Big Daddy Kane,
Avey Tare & Kría Brekkan,
The Walker Brothers,
Pole,
Nirvana,
Rufus Thomas,
Monks,
Black Bananas,
Young Marble Giants,
The Tremeloes,
Silicon Teens,
June Days,
DNA,
Echospace,
Rites of Spring,
Quando Quango,
DeepChord presents Echospace,
Josef K,
Model 500,
Mary Jane Girls,
Half Japanese,
In Retrospect,
Prince Buster,
The Fugs,
Delta 5,
Charles Mingus,
Colin Newman,
OOIOO,
Derrick Morgan,
Drexciya,
Kas Product,
The Monochrome Set,
Procol Harum,
Wings,
Moby Grape,
Kaleidoscope,
Cal Tjader,
EPMD,
Roxy Music,
Jacques Brel,
Bad Manners,
Beasts of Bourbon,
Depeche Mode,
The Techniques,
Derrick May,
World's Most,
Arab on Radar,
The Birthday Party,
The Chocolate Watch Band,
Lalo Schifrin,
Unwound,
Fear,
Larry & the Blue Notes,
Avey Tare,
Symarip,
AZ,
Rhythm & Sound,
Yaz,
Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch.
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.