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 Luxembourg and from Glasgow.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Tokyo and Woodstock.
I'm losing my edge to the art-school Accra 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 clarinet sounds with much patience.
I was there when Michael McDonald 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 Schoolly D to the grunge 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 Index. All the underground hits.
All Be Bop Deluxe tracks. I heard you have a vinyl of every Scion record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a clarinet and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Bill Near record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kevin Saunderson,
Lalann,
D'Angelo,
The Royal Family And The Poor,
Alton Ellis,
Rowland S Howard / Lydia Lunch,
Robert Wyatt,
De La Soul & Jungle Brothers,
Orchestral Manoeuvres in the Dark,
Neu!,
The Five Americans,
The Stooges,
Deadbeat,
Graham Central Station,
Skriet,
Fort Wilson Riot,
Symarip,
Mark Hollis,
Masters at Work,
Sun Ra Arkestra,
the Swans,
Arcadia,
The Dirtbombs,
Chris Corsano,
June Days,
Reuben Wilson,
a-ha,
The Cowsills,
Kool G Rap & DJ Polo,
Japan,
Mr. Review,
Talk Talk,
Ultramagnetic MC's,
Half Japanese,
Can,
Nation of Ulysses,
The Busters,
The Neon Judgement,
Moss Icon,
CMW,
Matthew Halsall,
Lafayette Afro Rock Band,
Bobby Womack,
The Shadows of Knight,
Jeff Mills,
Barrington Levy,
Fat Boys,
Tears for Fears,
Deepchord,
It's A Beautiful Day,
Depeche Mode,
The Monochrome Set,
Anthony Braxton,
The Martian,
Tommy Roe,
Matthew Bourne,
Sun Ra,
Minor Threat,
Franke,
Malaria!,
World's Most,
The Real Kids,
Rhythm & Sound,
Scott Walker + Sunn O))), Scott Walker + Sunn O))), Scott Walker + Sunn O))), Scott Walker + Sunn O))).
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.