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 Lesotho and from Paris.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Lyon and Glasgow.
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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the linndrum sounds with much patience.
I was there when Lou Reed 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 Music Machine to the jazz 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 Selector Dub Narcotic. All the underground hits.
All Kerrie Biddell tracks. I heard you have a vinyl of every John Holt record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Barry Ungar record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hashim,
La Düsseldorf,
Swans,
U.S. Maple,
Connie Case,
Tropical Tobacco,
One Last Wish,
The Busters,
The Selecter,
Selector Dub Narcotic,
K-Klass,
Jacob Miller,
Gastr Del Sol,
The Mummies,
Nik Kershaw,
Mark Hollis,
The Real Kids,
Electric Prunes,
The Wake,
Lower 48,
Sonny Sharrock,
Gregory Isaacs,
Albert Ayler,
Orchestral Manoeuvres in the Dark,
Lucky Dragons,
Surgeon,
Fugazi,
Bootsy's Rubber Band,
Eve St. Jones,
Section 25,
A Certain Ratio,
Liliput,
Ken Boothe,
Quadrant,
Rod Modell,
John Foxx,
Vladislav Delay,
Slave,
The Misunderstood,
Bob Dylan,
Altered Images,
Metal Thangz,
Delon & Dalcan,
Eden Ahbez,
EPMD,
Sam Rivers,
Scion,
DeepChord presents Echospace,
Fear,
Franke,
Kerri Chandler,
Darondo,
Tomorrow,
48th St. Collective,
Big Daddy Kane,
Kaleidoscope,
Kevin Saunderson,
Qualms,
The Five Americans,
The Invisible,
Tubeway Army,
Shuggie Otis, Shuggie Otis, Shuggie Otis, Shuggie Otis.
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.