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 United Kingdom and from Houston.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Paris and Glasgow.
I'm losing my edge to the art-school New York 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 Second Layer practice in a loft in South London.
I was working on the synthesizer sounds with much patience.
I was there when Lou Reed 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 AZ to the rap kids.
I played it at Cafe Wha.
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 Metal Thangz. All the underground hits.
All Suburban Knight tracks. I heard you have a vinyl of every Jandek record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Essential Logic record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pierre Henry,
Rod Modell,
DeepChord presents Echospace,
Throbbing Gristle,
Excepter,
10cc,
Lucky Dragons,
Moebius,
Visage,
One Last Wish,
Lou Reed & John Cale,
Circle Jerks,
Inner City,
Wire,
Echospace,
Laurel Aitken,
Roxy Music,
Oppenheimer Analysis,
Fort Wilson Riot,
Louis and Bebe Barron,
Fifty Foot Hose,
Andrew Hill,
Terrestrial Tones,
The Fuzztones,
Zero Boys,
Rufus Thomas,
Ohio Players,
The Last Poets,
Derrick Morgan,
Angry Samoans,
Scratch Acid,
Al Stewart,
Kayak,
New York Dolls,
Can,
Kas Product,
Lakeside,
Eric B and Rakim,
Susan Cadogan,
The Litter,
Sparks,
Scion,
The Moody Blues,
Wasted Youth,
The Skatalites,
The Fire Engines,
Nirvana,
Bootsy Collins,
Pete Rock & C.L. Smooth,
Gang Green,
Roger Hodgson,
James White and The Blacks,
It's A Beautiful Day,
Ice-T,
Arthur Verocai,
Wighnomy Brothers & Robag Wruhme,
June of 44,
Rosa Yemen,
The Trojans,
Camberwell Now,
Charles Mingus, Charles Mingus, Charles Mingus, Charles Mingus.
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.