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 Liberia and from Glasgow.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1974.
I'm losing my edge.
To all the kids in Paris and Stockholm.
I'm losing my edge to the art-school Tokyo 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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the chamberlin 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 U.S. Maple 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 Alton Ellis. All the underground hits.
All Ten City tracks. I heard you have a vinyl of every the Germs 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 '60s cut and another box set from the '90s.
I hear you're buying a mellotron and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Grauzone record.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joyce Sims,
The Star Department,
Spandau Ballet,
Theoretical Girls,
Vaughan Mason & Crew,
Cal Tjader,
The West Coast Pop Art Experimental Band,
Gichy Dan,
The Slits,
Animal Collective,
Lindisfarne,
Cybotron,
Nils Olav,
Judy Mowatt,
Siouxsie and the Banshees,
Blake Baxter,
Be Bop Deluxe,
Warren Ellis,
Thompson Twins,
Kango’s Stein Massive,
Royal Trux,
X-101,
Eve St. Jones,
Crispian St. Peters,
Porter Ricks,
Bill Wells,
Massinfluence,
The United States of America,
Vainqueur,
Dennis Brown,
Louis and Bebe Barron,
Rhythim Is Rhythim,
Sun Ra,
Zero Boys,
Gang Gang Dance,
E-Dancer,
Lightning Bolt,
The Zeros,
The Cowsills,
Amazonics,
Sarah Menescal,
The Move,
The Remains,
Sister Nancy,
Alice Coltrane,
Bauhaus,
U.S. Maple,
The Moleskins,
Johnny Osbourne,
Glambeats Corp.,
the Normal,
The Searchers,
Flamin' Groovies,
8 Eyed Spy,
Ice-T,
Skriet,
Lizzy Mercier Descloux,
The Trojans,
Deakin,
Stereo Dub, Stereo Dub, Stereo Dub, Stereo Dub.
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.