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 East Timor and from Johannesburg.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Paris and New York.
I'm losing my edge to the art-school Hong Kong 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the güiro 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 Major Organ And The Adding Machine to the grunge kids.
I played it at the Hacienda.
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 Piero Umiliani. All the underground hits.
All Au Pairs tracks. I heard you have a vinyl of every Zapp record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Bauhaus record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DJ Sneak,
Los Fastidios,
Vainqueur,
World's Most,
Graham Central Station,
Amazonics,
The Beau Brummels,
Tim Buckley,
The Fall,
Organ,
Flash Fearless,
Barry Ungar,
Ossler,
Teenage Jesus and the Jerks,
Thinking Fellers Union Local 282,
Minor Threat,
Suicide,
Wally Richardson,
Sight & Sound,
Gang of Four,
Beasts of Bourbon,
Mars,
Cymande,
The Blues Magoos,
Nils Olav,
Japan,
Soul Sonic Force,
Eli Mardock,
Aural Exciters,
The United States of America,
Sun Ra Arkestra,
Dark Day,
One Last Wish,
Roy Ayers Ubiquity,
Letta Mbulu,
The Sonics,
Bauhaus,
The West Coast Pop Art Experimental Band,
Underground Resistance,
Slick Rick,
Flipper,
Das Ding,
Bad Manners,
Arthur Verocai,
Pole,
Freddie Wadling,
DNA,
Sex Pistols,
Little Man,
This Heat,
Jacques Brel,
Rhythim Is Rhythim,
The Blackbyrds,
Gregory Isaacs,
Khruangbin,
Yusef Lateef,
Grandmaster Flash,
The Invisible,
Agent Orange,
New Order,
Justin Hinds & The Dominoes,
X-102,
A Flock of Seagulls, A Flock of Seagulls, A Flock of Seagulls, A Flock of Seagulls.
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.