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 Nicaragua and from Bologna.
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 1971.
I'm losing my edge.
To all the kids in Jakarta and Toronto.
I'm losing my edge to the art-school Mumbai 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the harpsichord 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 Hasil Adkins to the dance kids.
I played it at the Troubador.
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 Echospace. All the underground hits.
All Ken Boothe tracks. I heard you have a vinyl of every The Techniques 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 '70s cut and another box set from the '70s.
I hear you're buying an organ and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Masta Ace, Craig G, Kool G Rap, Big Daddy Kane record.
I hear that you and your band have sold your linndrum and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Todd Terry,
Saccharine Trust,
Unwound,
Kaleidoscope,
Hot Snakes,
The Offenders,
Audionom,
It's A Beautiful Day,
Siglo XX,
K-Klass,
Neu!,
X-Ray Spex,
Marshall Jefferson,
Sam Rivers,
Lindisfarne,
The Electric Prunes,
DJ Style,
Jesper Dahlbäck,
Charles Mingus,
Goldenarms,
Colin Newman,
Parry Music,
The Misunderstood,
Alice Coltrane,
Kurtis Blow,
Graham Central Station,
Bob Dylan,
Stereo Dub,
Masters at Work,
Thee Headcoats,
Whodini,
Rhythim Is Rhythim,
The Trojans,
Shuggie Otis,
The Young Rascals,
Quando Quango,
Amon Düül II,
Scientists,
The Seeds,
The Last Poets,
The Fire Engines,
Joe Finger,
James Chance & The Contortions,
Gil Scott-Heron and Jamie xx,
The Move,
Moby Grape,
The Jesus and Mary Chain,
OOIOO,
Fela Kuti,
Lou Christie,
Nirvana,
Rowland S Howard / Lydia Lunch,
The Victims,
Underground Resistance,
Black Pus,
The United States of America,
The Peanut Butter Conspiracy,
The Toasters,
The Zeros,
Das Ding,
Buzzcocks,
Rahsaan Roland Kirk,
Dark Day, Dark Day, Dark Day, Dark Day.
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.