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 Togo and from Spokane.
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 1975.
I'm losing my edge.
To all the kids in Mexico City and Lille.
I'm losing my edge to the art-school Sao Paulo 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 1968 at the first Bowie practice in a loft in Bromley.
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 Young Marble Giants to the techno 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 Bauhaus. All the underground hits.
All Scott Walker tracks. I heard you have a vinyl of every The Smiths record on German import.
I heard that you have a white label of every seminal funk 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 synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Notorious Big And Bone Thugs record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Japan,
Liliput,
Nirvana,
David Axelrod,
Flamin' Groovies,
Marmalade,
Wolf Eyes,
Marine Girls,
Art Ensemble Of Chicago,
Barclay James Harvest,
Lakeside,
8 Eyed Spy,
Porter Ricks,
Strawberry Alarm Clock,
Fatback Band,
Whodini,
Kango’s Stein Massive,
Cluster,
Boogie Down Productions,
Symarip,
The Alarm Clocks,
The Fall,
Cymande,
Derrick Morgan,
The Walker Brothers,
The Toasters,
Skaos,
Iggy Pop,
Manfred Mann's Earth Band,
Lyres,
Sex Pistols,
The Happenings,
Matthew Bourne,
the Association,
Dual Sessions,
The Evens,
Hashim,
Stockholm Monsters,
Mo-Dettes,
The Velvet Underground,
The Jesus and Mary Chain,
Super Lover Cee & Casanova Rud,
Soul II Soul,
Jacques Brel,
Kevin Saunderson,
Aaron Thompson,
The Busters,
Niagra,
Stetsasonic,
Wasted Youth,
The J.B.'s,
The Grass Roots,
Lebanon Hanover,
The Fire Engines,
Bobby Hutcherson,
Gabor Szabo,
Lindisfarne,
Kayak,
Minor Threat,
Minny Pops,
Bill Near,
Roxette,
Cecil Taylor, Cecil Taylor, Cecil Taylor, Cecil Taylor.
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.