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 Macedonia and from Mumbai.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Spokane and Glasgow.
I'm losing my edge to the art-school Mexico City 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 arpeggiator sounds with much patience.
I was there when Robert Palmer 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 EPMD to the jazz 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 Lonnie Liston Smith. All the underground hits.
All Eden Ahbez tracks. I heard you have a vinyl of every N.O.R.E. Featuring Pharrell 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 '90s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Outsiders record.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Smoke,
Marshall Jefferson,
Joe Finger,
Peter and Kerry,
Dave Gahan,
Arab on Radar,
Jeff Lynne,
Shoche,
Pantytec,
Clear Light,
Sight & Sound,
Pete Rock & C.L. Smooth,
Suicide,
Japan,
Bobby Hutcherson,
Quando Quango,
Visage,
Lyres,
Amon Düül II,
Dorothy Ashby,
Rakim,
Can,
The Count Five,
Lizzy Mercier Descloux,
Marmalade,
Lakeside,
Fort Wilson Riot,
Larry & the Blue Notes,
Unwound,
Symarip,
Spandau Ballet,
Fifty Foot Hose,
Todd Terry,
Pulsallama,
Richard Hell and the Voidoids,
Sarah Menescal,
Animal Collective,
Dual Sessions,
Alton Ellis,
Ituana,
The Durutti Column,
T.S.O.L.,
The Fire Engines,
AZ,
Kauko Röyhkä ja Narttu,
Ten City,
the Normal,
Jawbox,
Graham Central Station,
Subhumans,
The Smiths,
the Human League,
Surgeon,
Big Daddy Kane,
The Grass Roots,
Thinking Fellers Union Local 282,
FM Einheit,
Black Pus,
The Victims,
ABC,
The Blues Magoos,
Arthur Verocai,
Altered Images,
Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft.
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.