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 Stockholm.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Halifax and Winnipeg.
I'm losing my edge to the art-school Beijing 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the oboe 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 Cybotron to the rock kids.
I played it at the Spitz.
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 Sarah Menescal. All the underground hits.
All Black Flag tracks. I heard you have a vinyl of every Hasil Adkins record on German import.
I heard that you have a white label of every seminal punk 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 synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Parry Music record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter Gordon & Love of Life Orchestra,
Unrelated Segments,
Bobbi Humphrey,
The Zeros,
Wire,
Country Joe & The Fish,
Cecil Taylor,
Traffic Nightmare,
Max Romeo,
Liliput,
Monks,
Royal Trux,
Carl Craig,
Nick Fraelich,
The Pretty Things,
The Fall,
Leonard Cohen,
Supertramp,
The Fortunes,
The Standells,
Magazine,
Jerry Gold Smith,
Y Pants,
Bobby Sherman,
Art Ensemble Of Chicago,
Public Image Ltd.,
Animal Collective,
AZ,
Bush Tetras,
Siglo XX,
Youth Brigade,
Spandau Ballet,
Pole,
Visionaries,LMNO, T- Love & Iriscience,
Rakim,
Panda Bear,
A Certain Ratio,
Gil Scott-Heron & Brian Jackson,
Aural Exciters,
Jeru the Damaja,
Pantytec,
Donny Hathaway,
Mad Mike,
The Trojans,
Dr. Dre and Snoop Doggy Dog,
Tim Buckley,
The Doobie Brothers,
Depeche Mode,
The Vogues,
The Leaves,
The Shadows of Knight,
Dual Sessions,
The Buckinghams,
Frankie Knuckles,
Richard Hell and the Voidoids,
Jesper Dahlback,
Agitation Free,
Symarip,
Gang Gang Dance,
Nick Cave & The Bad Seeds,
Neu!,
the Sonics,
Sixth Finger, Sixth Finger, Sixth Finger, Sixth Finger.
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.