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 Nepal and from Tehran.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Lille and Jakarta.
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 1973 at the first Television practice in a loft in New York.
I was working on the spring reverb sounds with much patience.
I was there when Michael McDonald 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 John Foxx to the grunge kids.
I played it at the 40 Watt.
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 Dark Day. All the underground hits.
All Cluster tracks. I heard you have a vinyl of every Tropical Tobacco record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Fluxion record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sandy B,
Japan,
Kango’s Stein Massive,
Wighnomy Brothers & Robag Wruhme,
OOIOO,
The Modern Lovers,
Jawbox,
James Chance & The Contortions,
Lou Christie,
Yazoo,
Tom Boy,
Siglo XX,
Charles Mingus,
Kas Product,
Pere Ubu,
Ohio Players,
Tres Demented,
Average White Band,
Eric Copeland,
Sun Ra,
The Detroit Cobras,
A Flock of Seagulls,
Eric B and Rakim,
Quando Quango,
The Golliwogs,
The Gories,
Smog,
Gichy Dan,
Marmalade,
ABC,
The Cowsills,
Television Personalities,
Parry Music,
Bobby Womack,
Boredoms,
Magma,
Groovy Waters,
Swans,
The Young Rascals,
Nils Olav,
Visage,
Main Source,
Black Pus,
John Cale,
Kaleidoscope,
Silicon Teens,
Dennis Brown,
the Sonics,
Suburban Knight,
Crispy Ambulance,
Juan Atkins,
Kool Moe Dee,
Alphaville,
Scrapy,
The Motions,
Oblivians,
Warsaw,
Carl Craig,
the Germs,
Nik Kershaw,
Half Japanese,
Rowland S Howard / Lydia Lunch,
Selector Dub Narcotic, Selector Dub Narcotic, Selector Dub Narcotic, Selector Dub Narcotic.
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.