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 Tonga and from Manchester.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1972.
I'm losing my edge.
To all the kids in Lille and Jakarta.
I'm losing my edge to the art-school Paris 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 arpeggiator 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 Khruangbin to the jazz kids.
I played it at the Spitz.
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 London Community Gospel Choir. All the underground hits.
All The Pretty Things tracks. I heard you have a vinyl of every Sun Ra Arkestra record on German import.
I heard that you have a white label of every seminal grunge 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 linndrum and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Remains record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Absolute Body Control,
Nick Cave & The Bad Seeds,
KRS-One,
Visage,
Roxy Music,
Bobby Sherman,
Aloha Tigers,
The Skatalites,
A Certain Ratio,
PIL,
Röyhkä ja Rättö ja Lehtisalo,
Intrusion,
Oneida,
Tears for Fears,
Al Stewart,
John Cale,
Country Joe & The Fish,
Vaughan Mason & Crew,
The Names,
Half Japanese,
Yellowson,
Rowland S Howard / Lydia Lunch,
Blancmange,
Traffic Nightmare,
the Association,
China Crisis,
T.S.O.L.,
Icehouse,
Aural Exciters,
Peter Gordon & Love of Life Orchestra,
Eli Mardock,
Model 500,
Dorothy Ashby,
Ultramagnetic MC's,
Franke,
Grey Daturas,
Lower 48,
The Moleskins,
Guru Guru,
Altered Images,
Funkadelic,
The Count Five,
Tropical Tobacco,
Porter Ricks,
Man Eating Sloth,
Cecil Taylor,
Eric B and Rakim,
Marc Almond,
Kerri Chandler,
Rakim,
Trumans Water,
Fear,
Eyeless In Gaza,
Scratch Acid,
The Techniques,
Graham Central Station,
Stockholm Monsters,
Judy Mowatt,
James White and The Blacks,
Mandrill,
Organ,
The Cramps,
Derrick May, Derrick May, Derrick May, Derrick May.
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.