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 Fiji and from Lille.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1976.
I'm losing my edge.
To all the kids in Madrid and Bologna.
I'm losing my edge to the art-school Tehran 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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the 808 sounds with much patience.
I was there when David Bowie 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 Connie Case to the funk 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 Deadbeat. All the underground hits.
All X-102 tracks. I heard you have a vinyl of every Au Pairs 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 '60s cut and another box set from the '80s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Sister Nancy record.
I hear that you and your band have sold your marimba and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Throbbing Gristle,
Stereo Dub,
Aural Exciters,
Barrington Levy,
Can,
Kurtis Blow,
Deakin,
MDC,
Section 25,
Soft Machine,
Dawn Penn,
the Soft Cell,
Hasil Adkins,
Qualms,
New York Dolls,
Toni Rubio,
Grandmaster Flash,
Porter Ricks,
Crash Course in Science,
Camberwell Now,
kango's stein massive,
Bang on a Can All-Stars,
Thinking Fellers Union Local 282,
Sonny Sharrock,
Gerry Rafferty,
Groovy Waters,
Index,
Electric Prunes,
Sight & Sound,
Laurel Aitken,
Model 500,
The Peanut Butter Conspiracy,
Monks,
KRS-One,
Sexual Harrassment,
Charles Mingus,
Television Personalities,
Boogie Down Productions,
the Swans,
Derrick Morgan,
Minor Threat,
The Seeds,
Y Pants,
Gichy Dan,
Richard Hell and the Voidoids,
Marcia Griffiths,
Deepchord,
The Pop Group,
the Germs,
Rites of Spring,
The Fire Engines,
Vladislav Delay,
Swell Maps,
The Alarm Clocks,
Selector Dub Narcotic,
Bizarre Inc.,
Wings,
The Slackers,
Negative Approach,
DeepChord presents Echospace,
Country Joe & The Fish,
Manfred Mann's Earth Band,
The Blues Magoos, The Blues Magoos, The Blues Magoos, The Blues Magoos.
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.