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 Iceland and from Mexico City.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Beijing and Manchester.
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 1968 at the first Can practice in a loft in Cologne.
I was working on the harpsichord 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 Maurizio to the crunk kids.
I played it at CBGB's.
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 Harpers Bizarre. All the underground hits.
All Brass Construction tracks. I heard you have a vinyl of every kango's stein massive 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 '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Smiths record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brick,
Altered Images,
Bronski Beat,
Symarip,
Connie Case,
Sonny Sharrock,
Soft Machine,
Bang on a Can All-Stars,
Siouxsie and the Banshees,
The Count Five,
Laurel Aitken,
Ronan,
Gil Scott-Heron and Jamie xx,
Arcadia,
Cymande,
The Martian,
Eden Ahbez,
Oblivians,
FM Einheit,
Sonic Youth,
Hashim,
Morten Harket,
Y Pants,
Darondo,
Rufus Thomas,
Deakin,
Rhythm & Sound,
Interpol,
Iggy Pop,
Pussy Galore,
Infiniti,
Q and Not U,
UT,
The Human League,
Qualms,
Severed Heads,
The Black Dice,
Soul II Soul,
Grauzone,
Scott Walker,
Porter Ricks,
Theoretical Girls,
Super Lover Cee & Casanova Rud,
John Holt,
Ralphi Rosario,
OOIOO,
New Age Steppers,
PIL,
Mark Hollis,
Sixth Finger,
Spandau Ballet,
Absolute Body Control,
Royal Trux,
Kool G Rap & DJ Polo,
Slave,
Johnny Clarke,
The Fortunes,
June Days,
Thompson Twins,
John Foxx,
Grandmaster Flash and the Furious Five, Grandmaster Flash and the Furious Five, Grandmaster Flash and the Furious Five, Grandmaster Flash and the Furious Five.
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.