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 Korea South and from Stockholm.
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 1975.
I'm losing my edge.
To all the kids in Lyon and Accra.
I'm losing my edge to the art-school Manchester 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the marimba 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 Shoche 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 Freddie Wadling. All the underground hits.
All Rapeman tracks. I heard you have a vinyl of every Erykah Badu record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a clarinet and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Chris & Cosey record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Agitation Free,
Lakeside,
Flipper,
Pete Rock & C.L. Smooth,
Barclay James Harvest,
Jeff Mills,
Suicide,
Juan Atkins,
The Birthday Party,
Echo & the Bunnymen,
Beasts of Bourbon,
Angry Samoans,
Das Ding,
The Neon Judgement,
The Invisible,
Echospace,
Suburban Knight,
Frankie Knuckles,
Drive Like Jehu,
June of 44,
Agent Orange,
DJ Sneak,
The Residents,
The Blues Magoos,
B.T. Express,
Lower 48,
Thinking Fellers Union Local 282,
Lindisfarne,
Bobby Sherman,
The Dave Clark Five,
ABBA,
It's A Beautiful Day,
The Peanut Butter Conspiracy,
Swans,
Avey Tare's Slasher Flicks,
Throbbing Gristle,
Cluster,
Gang Gang Dance,
Rites of Spring,
Mr. Review,
Art Ensemble Of Chicago,
Pole,
Oblivians,
8 Eyed Spy,
Kool G Rap & DJ Polo,
Warren Ellis,
Arab on Radar,
John Holt,
Selector Dub Narcotic,
Moebius,
Yaz,
Kings Of Tomorrow,
Panda Bear,
The Wake,
KRS-One,
Siouxsie and the Banshees,
Metal Thangz,
Notorious Big And Bone Thugs,
Mark Hollis,
Dennis Brown,
Q and Not U,
PIL,
Saccharine Trust, Saccharine Trust, Saccharine Trust, Saccharine Trust.
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.