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 Chad and from Toronto.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Tokyo and Taipei.
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 1978 at the first Visage practice in a loft in London.
I was working on the snare 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 Chris & Cosey to the techno kids.
I played it at Trash.
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 Beasts of Bourbon. All the underground hits.
All Jeff Lynne tracks. I heard you have a vinyl of every Henry Cow record on German import.
I heard that you have a white label of every seminal disco 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 guitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Skriet record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Morten Harket,
The Monochrome Set,
Talk Talk,
The Offenders,
Tommy Roe,
Quando Quango,
Alphaville,
Zapp,
Wolf Eyes,
Liaisons Dangereuses,
Grey Daturas,
Jeff Mills,
Ralphi Rosario,
The Human League,
Sam Rivers,
Susan Cadogan,
Faraquet,
One Last Wish,
PIL,
UT,
Jesper Dahlback,
The Motions,
Scientists,
Byron Stingily,
Public Enemy,
Barry Ungar,
L. Decosne,
Silicon Teens,
Pantytec,
Gang Starr,
MC5,
Louis and Bebe Barron,
Neil Young & Crazy Horse,
Lyres,
Sunsets and Hearts,
Ludus,
Bobby Sherman,
Bill Wells,
Interpol,
E-Dancer,
Larry & the Blue Notes,
Gang of Four,
The Walker Brothers,
Smog,
Todd Terry,
Nas,
Arcadia,
Nirvana,
The Durutti Column,
The Last Poets,
Siglo XX,
Eden Ahbez,
JFA,
Spoonie Gee,
Excepter,
These Immortal Souls,
Dawn Penn,
Aaron Thompson,
Nick Cave & The Bad Seeds,
Quantec,
Yellowson,
New Age Steppers,
Dark Day, Dark Day, Dark Day, Dark Day.
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.