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 Gambia and from Accra.
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 1977.
I'm losing my edge.
To all the kids in Seoul and Lille.
I'm losing my edge to the art-school Seoul 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 Mistral practice in a loft in Amsterdam.
I was working on the spring reverb sounds with much patience.
I was there when Holger Czukay 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 Matthew Halsall to the rap kids.
I played it at the Crocodile.
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 Ultramagnetic MC's. All the underground hits.
All Marmalade tracks. I heard you have a vinyl of every The Happenings record on German import.
I heard that you have a white label of every seminal rap 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 snare and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Pop Group record.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chris & Cosey,
Ponytail,
Hoover,
Angry Samoans,
Man Parrish,
Sun City Girls,
The Five Americans,
Selector Dub Narcotic,
Gichy Dan,
Little Man,
Aural Exciters,
Gong,
Q and Not U,
Crispian St. Peters,
Arab on Radar,
The Skatalites,
The Mummies,
Essential Logic,
The Moleskins,
The Mighty Diamonds,
Röyhkä ja Rättö ja Lehtisalo,
Sound Behaviour,
Toni Rubio,
Steve Hackett,
The Tremeloes,
The Music Machine,
Buzzcocks,
Todd Terry,
Agitation Free,
Hardrive,
Radiopuhelimet,
Main Source,
China Crisis,
Strawberry Alarm Clock,
Vladislav Delay,
Grey Daturas,
Rosa Yemen,
Skaos,
Jandek,
The Mojo Men,
DJ Sneak,
Siglo XX,
Brand Nubian,
The Flesh Eaters,
Subhumans,
The Dirtbombs,
The Blackbyrds,
Sun Ra Arkestra,
Marmalade,
Nico,
The Sound,
Sällskapet,
Mo-Dettes,
Qualms,
Rotary Connection,
Dr. Dre and Snoop Doggy Dog,
Radio Birdman,
H. Thieme,
Warren Ellis,
Camouflage,
The Blues Magoos,
Darondo,
Royal Trux,
Organ, Organ, Organ, Organ.
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.