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 Edmonton.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Halifax and Madrid.
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 linndrum sounds with much patience.
I was there when David Bowie 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 Glambeats Corp. to the electroclash kids.
I played it at the Roxy.
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 Avey Tare's Slasher Flicks. All the underground hits.
All The Last Poets tracks. I heard you have a vinyl of every Jesper Dahlbäck 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 '50s cut and another box set from the '90s.
I hear you're buying a marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Drive Like Jehu record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eddi Front,
Kings Of Tomorrow,
Fear,
Bootsy Collins,
Rhythm & Sound,
The United States of America,
Unwound,
Camron Feat. Memphis Bleek And Beenie Seigel,
Bill Wells,
Soft Machine,
Cabaret Voltaire,
Black Flag,
Chris & Cosey,
The Last Poets,
The Mummies,
Camouflage,
Y Pants,
Chris Corsano,
The Vogues,
Connie Case,
Al Stewart,
Prince Buster,
Blossom Toes,
John Lydon,
Ituana,
Jeru the Damaja,
Buzzcocks,
Selector Dub Narcotic,
The Dirtbombs,
The Shadows of Knight,
The Pretty Things,
Pet Shop Boys,
Bad Manners,
Vaughan Mason & Crew,
Masters at Work,
Mission of Burma,
Man Parrish,
Jeff Mills,
Ralphi Rosario,
Sandy B,
Gabor Szabo,
The Men They Couldn't Hang,
Camron Feat. Jay Z And Juelz,
A Flock of Seagulls,
Visionaries,LMNO, T- Love & Iriscience,
Warsaw,
Parry Music,
Rhythim Is Rhythim,
B.T. Express,
Todd Rundgren,
Marshall Jefferson,
Eden Ahbez,
the Germs,
Duran Duran,
The Beau Brummels,
Drexciya,
Rosa Yemen,
The Human League,
Monks,
Harry Pussy,
Glenn Branca,
Tears for Fears,
The Golliwogs, The Golliwogs, The Golliwogs, The Golliwogs.
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.