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 Cambodia and from Milan.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1977.
I'm losing my edge.
To all the kids in Madrid and Cairo.
I'm losing my edge to the art-school Paris 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 spring reverb 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 The Smoke to the punk kids.
I played it at the Crocodile.
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 Kaleidoscope. All the underground hits.
All The Misunderstood tracks. I heard you have a vinyl of every The Sound record on German import.
I heard that you have a white label of every seminal electroclash 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 spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Judy Mowatt record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dark Day,
Monolake,
Minor Threat,
The Neon Judgement,
The Fugs,
Wire,
Zero Boys,
PIL,
The Royal Family And The Poor,
Circle Jerks,
Public Enemy,
a-ha,
Scan 7,
Roy Ayers Ubiquity,
Kerri Chandler,
Rapeman,
Susan Cadogan,
Lower 48,
Technova,
Black Pus,
Hot Snakes,
Gil Scott-Heron & Brian Jackson,
Stockholm Monsters,
Scrapy,
Television Personalities,
Franke,
The Kinks,
John Holt,
Justin Hinds & The Dominoes,
Electric Prunes,
The Sisters of Mercy,
Dennis Brown,
Alison Limerick,
New Age Steppers,
Letta Mbulu,
X-Ray Spex,
Peter and Kerry,
Cluster,
Donny Hathaway,
Bush Tetras,
Brick,
Harpers Bizarre,
Nick Fraelich,
Ronnie Foster,
Con Funk Shun,
Pere Ubu,
Severed Heads,
Gary Puckett & The Union Gap,
The J.B.'s,
Iggy Pop,
The Sound,
Marine Girls,
DeepChord presents Echospace,
Gil Scott-Heron and Jamie xx,
The Moleskins,
DJ Style,
Curtis Mayfield,
Youth Brigade,
Pagans,
Schoolly D,
Girls At Our Best!,
Nation of Ulysses,
Major Organ And The Adding Machine, Major Organ And The Adding Machine, Major Organ And The Adding Machine, Major Organ And The Adding Machine.
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.