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 the UAE and from Hong Kong.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Tokyo and Shanghai.
I'm losing my edge to the art-school Madrid 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 mellotron 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 Rapeman to the jazz kids.
I played it at the Astoria.
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. All the underground hits.
All Von Mondo tracks. I heard you have a vinyl of every Mars record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Nirvana record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jimmy McGriff,
Eric B and Rakim,
Drexciya,
Bizarre Inc.,
Kas Product,
Deadbeat,
X-101,
Buzzcocks,
Con Funk Shun,
Sister Nancy,
Bronski Beat,
Pere Ubu,
Gang Gang Dance,
Inner City,
Rufus Thomas,
Young Marble Giants,
John Coltrane,
The Residents,
Saccharine Trust,
Mantronix,
Radio Birdman,
Wire,
The Real Kids,
Black Bananas,
Barclay James Harvest,
Lower 48,
Gian Franco Pienzio,
Crime,
Art Ensemble Of Chicago,
Intrusion,
Skarface,
Wolf Eyes,
Vainqueur,
Eric Copeland,
Dave Gahan,
Can,
The Buckinghams,
The Remains,
Glenn Branca,
Liliput,
Darondo,
Main Source,
Bill Wells,
The Fall,
Interpol,
Röyhkä ja Rättö ja Lehtisalo,
Funky Four + One,
Kenny Larkin,
Crash Course in Science,
Echospace,
Danielle Patucci,
Scratch Acid,
Panda Bear,
Livin' Joy,
The Gun Club,
Television,
Minor Threat,
Gil Scott Heron,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Kerrie Biddell,
X-102,
Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza.
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.