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 Grenada and from Seoul.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Jakarta and Bologna.
I'm losing my edge to the art-school Houston 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the theremin sounds with much patience.
I was there when Tom Verlaine 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 Gian Franco Pienzio to the funk 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 Anthony Braxton. All the underground hits.
All Jawbox tracks. I heard you have a vinyl of every Neil Young record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
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 Mr. Review record.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Soft Cell,
Cybotron,
Mark Hollis,
Heavy D & The Boyz,
Boogie Down Productions,
Sällskapet,
Dark Day,
The Jesus and Mary Chain,
Eric Copeland,
June of 44,
Radio Birdman,
JFA,
Rapeman,
Freddie Wadling,
Visionaries,LMNO, T- Love & Iriscience,
Joe Finger,
Rhythim Is Rhythim,
The Angels of Light,
Reagan Youth,
Stockholm Monsters,
8 Eyed Spy,
Second Layer,
T. Rex,
Marine Girls,
Marcia Griffiths,
Major Organ And The Adding Machine,
Hoover,
Justin Hinds & The Dominoes,
Interpol,
Grandmaster Flash,
The Saints,
Scion,
Nas,
Grauzone,
Roger Hodgson,
the Normal,
The Slackers,
The Moody Blues,
Isaac Hayes,
De La Soul & Jungle Brothers,
Moby Grape,
Cluster,
The Gories,
Scrapy,
The Velvet Underground,
Sound Behaviour,
Connie Case,
Red Lorry Yellow Lorry,
Arthur Verocai,
Kerrie Biddell,
John Foxx,
The Residents,
Danielle Patucci,
Gabor Szabo,
Crooked Eye,
Half Japanese,
Outsiders,
Lalo Schifrin,
Joensuu 1685,
Junior Murvin,
The West Coast Pop Art Experimental Band,
Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago.
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.