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 Austria and from Accra.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Sao Paulo and Toronto.
I'm losing my edge to the art-school Accra 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 organ 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 Magazine to the disco kids.
I played it at Trash.
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 Cabaret Voltaire. All the underground hits.
All Deadbeat tracks. I heard you have a vinyl of every Michelle Simonal record on German import.
I heard that you have a white label of every seminal jazz 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 harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Seeds record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
It's A Beautiful Day,
Judy Mowatt,
Notorious Big And Bone Thugs,
Deepchord,
Ken Boothe,
Richard Hell and the Voidoids,
David Axelrod,
Jacob Miller,
CMW,
Grey Daturas,
Qualms,
Young Marble Giants,
Joy Division,
Albert Ayler,
The American Breed,
The Names,
Danielle Patucci,
MDC,
London Community Gospel Choir,
Aaron Thompson,
Drexciya,
The Doors,
Minor Threat,
The Birthday Party,
The Mummies,
The Flesh Eaters,
The Happenings,
The Wake,
Nik Kershaw,
Brothers Johnson,
The Chocolate Watch Band,
Sam Rivers,
The Gap Band,
Darondo,
The Victims,
The Associates,
Massinfluence,
Gregory Isaacs,
Major Organ And The Adding Machine,
Rotary Connection,
Lou Reed & John Cale,
Barry Ungar,
Camron Feat. Memphis Bleek And Beenie Seigel,
These Immortal Souls,
Pagans,
Yusef Lateef,
Radiohead,
Andrew Ashong & Theo Parrish,
Panda Bear,
Radiopuhelimet,
DJ Sneak,
Ornette Coleman,
Boredoms,
Peter Gordon & Love of Life Orchestra,
The Beau Brummels,
DNA,
The Sisters of Mercy,
The Grass Roots,
Sad Lovers and Giants,
Eden Ahbez,
The Saints,
Eric Copeland,
The Zeros,
The Trojans, The Trojans, The Trojans, The Trojans.
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.