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 Albania and from Delhi.
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 Accra and Mumbai.
I'm losing my edge to the art-school Delhi 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the organ sounds with much patience.
I was there when Robert Palmer 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 Jeru the Damaja to the rap kids.
I played it at Cafe Wha.
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 The Standells. All the underground hits.
All Pussy Galore tracks. I heard you have a vinyl of every Warsaw record on German import.
I heard that you have a white label of every seminal techno 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 theremin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Slits record.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bizarre Inc.,
Frankie Knuckles,
Matthew Halsall,
the Soft Cell,
Television Personalities,
Rhythm & Sound,
The Gun Club,
UT,
Selector Dub Narcotic,
Vainqueur,
Captain Beefheart & His Magic Band,
Cameo,
Franke,
Mars,
Shuggie Otis,
X-101,
The Selecter,
Blake Baxter,
New Age Steppers,
Lee Hazlewood,
Circle Jerks,
The Shadows of Knight,
Pantytec,
Ludus,
Lucky Dragons,
Amon Düül II,
Technova,
Warsaw,
Vaughan Mason & Crew,
Rod Modell,
The Chocolate Watch Band,
Cheater Slicks,
Sun City Girls,
The Human League,
Lyres,
Jawbox,
Pole,
The Residents,
The Durutti Column,
The Dead C,
Pere Ubu,
Lebanon Hanover,
Visionaries,LMNO, T- Love & Iriscience,
the Swans,
Lalann,
Ash Ra Tempel,
Swell Maps,
Dead Boys,
Roger Hodgson,
Teenage Jesus and the Jerks,
The Black Dice,
The Busters,
The Peanut Butter Conspiracy,
Inner City,
Lungfish,
Fifty Foot Hose,
Jeff Mills,
Black Bananas,
Magazine,
The Pop Group,
Andrew Hill,
Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan.
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.