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 Colombia and from Bremen.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Columbus and Columbus.
I'm losing my edge to the art-school Stockholm 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 1976 at the first Wire practice in a loft in Watford.
I was working on the organ 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 The Sisters of Mercy to the techno kids.
I played it at the Crocodile.
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 Dawn Penn. All the underground hits.
All Marc Almond tracks. I heard you have a vinyl of every Kas Product record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a clarinet and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Gang Gang Dance record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Accadde A,
Bronski Beat,
Cheater Slicks,
The Fugs,
Terrestrial Tones,
E-Dancer,
Eurythmics,
Cecil Taylor,
The Invisible,
Zapp,
Lou Christie,
Andrew Ashong & Theo Parrish,
The Pretty Things,
Gregory Isaacs,
Eden Ahbez,
Sugar Minott,
Eli Mardock,
Tomorrow,
Bush Tetras,
Morten Harket,
Black Bananas,
Interpol,
Johnny Osbourne,
Jimmy McGriff,
Manfred Mann's Earth Band,
The Gap Band,
Agent Orange,
Lafayette Afro Rock Band,
Throbbing Gristle,
Bootsy Collins,
Delon & Dalcan,
Audionom,
Wally Richardson,
Boogie Down Productions,
Minnie Riperton,
Ituana,
Skriet,
Lalann,
Cluster,
Television Personalities,
Tropical Tobacco,
Swell Maps,
Lou Reed & John Cale,
PIL,
Pylon,
Dorothy Ashby,
Marine Girls,
James White and The Blacks,
Roy Ayers Ubiquity,
The Names,
Black Moon,
The Litter,
X-102,
Young Marble Giants,
Skaos,
The Move,
Danielle Patucci,
Frankie Knuckles,
Flamin' Groovies,
The Peanut Butter Conspiracy,
Sparks, Sparks, Sparks, Sparks.
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.