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 South Sudan and from Glasgow.
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 1972.
I'm losing my edge.
To all the kids in Spokane and Houston.
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 1978 at the first Visage practice in a loft in London.
I was working on the marimba 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 Tim Buckley to the electroclash kids.
I played it at CBGB's.
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 Depeche Mode. All the underground hits.
All Joensuu 1685 tracks. I heard you have a vinyl of every Neil Young & Crazy Horse 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 '50s cut and another box set from the '80s.
I hear you're buying a guitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Zeros record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Beau Brummels,
Nirvana,
Thee Headcoats,
Cybotron,
June of 44,
Rosa Yemen,
Girls At Our Best!,
LL Cool J,
EPMD,
Sun Ra Arkestra,
Kas Product,
Fort Wilson Riot,
Fat Boys,
Richard Hell and the Voidoids,
K-Klass,
Basic Channel,
Rufus Thomas,
Black Pus,
Delon & Dalcan,
Ten City,
Barrington Levy,
Pulsallama,
Los Fastidios,
The Moleskins,
Roy Ayers Ubiquity,
Nik Kershaw,
Max Romeo,
Jacob Miller,
The Techniques,
Black Sheep,
Technova,
Boz Scaggs,
Tommy Roe,
UT,
Mary Jane Girls,
Avey Tare,
Moebius,
Curtis Mayfield,
Dual Sessions,
Animal Collective,
Panda Bear,
Fear,
The Cure,
Eden Ahbez,
Kevin Saunderson,
Brand Nubian,
Jesper Dahlbäck,
Grey Daturas,
The Pop Group,
Terrestrial Tones,
Scott Walker + Sunn O))),
Maleditus Sound,
Patti Smith,
Shoche,
The Sonics,
Siouxsie and the Banshees,
Throbbing Gristle,
Kauko Röyhkä ja Narttu,
Jacques Brel,
Flash Fearless,
F. McDonald,
Circle Jerks,
Little Man, Little Man, Little Man, Little Man.
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.