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 El Salvador and from Copenhagen.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Manila and Accra.
I'm losing my edge to the art-school Bologna 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the clarinet 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 New York Dolls to the rap kids.
I played it at the Astoria.
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 Max Romeo. All the underground hits.
All David Axelrod tracks. I heard you have a vinyl of every Easy Going record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Curtis Mayfield record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aaron Thompson,
Johnny Osbourne,
Neu!,
Popol Vuh,
Oneida,
Gang of Four,
Masters at Work,
Underground Resistance,
Unwound,
Visionaries,LMNO, T- Love & Iriscience,
Kaleidoscope,
Theoretical Girls,
Gerry Rafferty,
The Royal Family And The Poor,
Stereo Dub,
Robert Wyatt,
Echo & the Bunnymen,
Graham Central Station,
Soulsonic Force,
Black Flag,
Zero Boys,
Notorious Big And Bone Thugs,
Barry Ungar,
Country Joe & The Fish,
Nas,
Freddie Wadling,
Dennis Brown,
Jimmy McGriff,
The Fortunes,
The Standells,
The Martian,
The Doors,
Bobbi Humphrey,
Pussy Galore,
Quadrant,
Severed Heads,
Banda Bassotti,
Model 500,
The Young Rascals,
L. Decosne,
Eve St. Jones,
John Cale,
Röyhkä ja Rättö ja Lehtisalo,
Thee Headcoats,
Jeff Mills,
Brothers Johnson,
the Slits,
ABBA,
Alison Limerick,
The Black Dice,
Arthur Verocai,
Black Bananas,
Section 25,
Hardrive,
Parry Music,
The Stooges,
The Offenders,
Kauko Röyhkä ja Narttu,
ABC,
Crispian St. Peters,
Jacob Miller,
Cal Tjader,
Cameo, Cameo, Cameo, Cameo.
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.