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 Lithuania and from Sao Paulo.
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 1973.
I'm losing my edge.
To all the kids in Mexico City and New York.
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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the harpsichord 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 KRS-One to the disco kids.
I played it at the Hacienda.
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 Marc Almond. All the underground hits.
All E-Dancer tracks. I heard you have a vinyl of every The Invisible 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 '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Jeff Mills record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mars,
Terrestrial Tones,
Gil Scott-Heron & Brian Jackson,
Beasts of Bourbon,
Girls At Our Best!,
Depeche Mode,
Deadbeat,
Absolute Body Control,
Teenage Jesus and the Jerks,
Half Japanese,
Louis and Bebe Barron,
Brothers Johnson,
Super Lover Cee & Casanova Rud,
Lou Reed & John Cale,
Pagans,
Brick,
Ossler,
Thompson Twins,
The Star Department,
It's A Beautiful Day,
Be Bop Deluxe,
Swans,
Laurel Aitken,
Fatback Band,
The Selecter,
Banda Bassotti,
Cheater Slicks,
In Retrospect,
Pantytec,
Pantaleimon,
B.T. Express,
Sexual Harrassment,
The Detroit Cobras,
Roxette,
Big Daddy Kane,
Symarip,
Masters at Work,
Marine Girls,
Colin Newman,
MDC,
The Saints,
Reagan Youth,
Livin' Joy,
Neil Young & Crazy Horse,
cv313,
Eden Ahbez,
The Cramps,
Boogie Down Productions,
Brass Construction,
Chris Corsano,
A Flock of Seagulls,
New Age Steppers,
Stockholm Monsters,
These Immortal Souls,
The Last Poets,
Sonic Youth,
Make Up,
Robert Görl,
Glenn Branca,
Smog,
Sixth Finger,
Mad Mike,
Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch.
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.