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 El Salvador and from Delhi.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Tehran and Houston.
I'm losing my edge to the art-school Woodstock 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 Captain Beefheart 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 Qualms to the crunk 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 Skaos. All the underground hits.
All The Slackers tracks. I heard you have a vinyl of every Youth Brigade record on German import.
I heard that you have a white label of every seminal rock 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 clarinet and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Doobie Brothers record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gong,
Oppenheimer Analysis,
Scion,
Althea and Donna,
Jacob Miller,
Michelle Simonal,
Pharoah Sanders,
Cameo,
Trumans Water,
Ludus,
Aural Exciters,
Siglo XX,
Bauhaus,
Stiv Bators,
Symarip,
Slave,
Silicon Teens,
The Sonics,
Sound Behaviour,
A Flock of Seagulls,
Dawn Penn,
Tears for Fears,
New York Dolls,
Motorama,
Sister Nancy,
Black Moon,
Tim Buckley,
Dual Sessions,
Darondo,
Surgeon,
Laurel Aitken,
Soft Cell,
Bobby Byrd,
Yellowson,
The Evens,
Boredoms,
Sparks,
The Busters,
Jeff Mills,
Stetsasonic,
London Community Gospel Choir,
Unrelated Segments,
The Cramps,
The Alarm Clocks,
The Blackbyrds,
Donald Byrd,
Skarface,
The Leaves,
Fatback Band,
Cabaret Voltaire,
Man Parrish,
Scrapy,
Radiopuhelimet,
Babytalk,
DeepChord presents Echospace,
Barry Ungar,
Grandmaster Flash,
The Zeros,
Marine Girls,
The Jesus and Mary Chain, The Jesus and Mary Chain, The Jesus and Mary Chain, The Jesus and Mary Chain.
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.