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 Estonia and from Lille.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Spokane and Madrid.
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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the linndrum 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 The Slits to the punk 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 Ohio Players. All the underground hits.
All Blancmange tracks. I heard you have a vinyl of every Susan Cadogan record on German import.
I heard that you have a white label of every seminal grime 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 theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Dark Day record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Morten Harket,
The Cure,
Glenn Branca,
Terrestrial Tones,
Barry Ungar,
Flash Fearless,
The Move,
Masters at Work,
Barbara Tucker,
The Durutti Column,
Sällskapet,
Soulsonic Force,
Qualms,
Ituana,
A Flock of Seagulls,
Matthew Halsall,
The Victims,
Avey Tare & Kría Brekkan,
Jeru the Damaja,
Mary Jane Girls,
Q65,
Rod Modell,
Captain Beefheart & His Magic Band,
Warren Ellis,
Groovy Waters,
Unwound,
Frankie Knuckles,
Major Organ And The Adding Machine,
Delta 5,
Be Bop Deluxe,
Amon Düül,
The Cowsills,
Bauhaus,
Sound Behaviour,
Kayak,
Sun Ra,
Wally Richardson,
The Royal Family And The Poor,
Con Funk Shun,
Desert Stars,
Scratch Acid,
Gil Scott-Heron and Jamie xx,
Scan 7,
Shuggie Otis,
Eyeless In Gaza,
Livin' Joy,
The Fall,
Funky Four + One,
the Association,
Fat Boys,
Symarip,
John Coltrane,
The Smiths,
Soul II Soul,
Camron Feat. Jay Z And Juelz,
Barrington Levy,
Piero Umiliani,
Oneida,
Eve St. Jones,
Shoche,
Gong, Gong, Gong, Gong.
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.