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 Canada and from Glasgow.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Mumbai and Taipei.
I'm losing my edge to the art-school Lille 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 arpeggiator sounds with much patience.
I was there when Tom Verlaine 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 Jesus and Mary Chain to the disco kids.
I played it at Trash.
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 Camron Feat. Memphis Bleek And Beenie Seigel. All the underground hits.
All Laurel Aitken tracks. I heard you have a vinyl of every Harmonia record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
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 Sticky Fingaz feat. Raekwon record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lindisfarne,
Red Lorry Yellow Lorry,
CMW,
Porter Ricks,
a-ha,
Kool Moe Dee,
The Men They Couldn't Hang,
Marc Almond,
Agent Orange,
Average White Band,
Unrelated Segments,
the Human League,
Maleditus Sound,
Steve Hackett,
Country Joe & The Fish,
Henry Cow,
Rotary Connection,
Smog,
Wolf Eyes,
Harmonia,
Ken Boothe,
Man Parrish,
Q and Not U,
Bluetip,
Harry Pussy,
Tommy Roe,
Deepchord,
One Last Wish,
Section 25,
The Fire Engines,
Wasted Youth,
the Slits,
Delon & Dalcan,
Q65,
Nick Fraelich,
Rapeman,
Eurythmics,
Faraquet,
Skaos,
Popol Vuh,
Roxette,
Flamin' Groovies,
X-102,
Echo & the Bunnymen,
Technova,
Alphaville,
Skriet,
Fluxion,
Radiohead,
The Trojans,
Pantytec,
Grey Daturas,
Harpers Bizarre,
Model 500,
The Names,
DJ Style,
Crime,
The Moleskins,
Sound Behaviour,
UT,
The Victims,
Frankie Knuckles,
Jandek,
Bizarre Inc., Bizarre Inc., Bizarre Inc., Bizarre Inc..
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.