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 Azerbaijan and from Glasgow.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Bremen and Seoul.
I'm losing my edge to the art-school New York 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the 808 sounds with much patience.
I was there when Captain Beefheart 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 Avey Tare's Slasher Flicks to the techno kids.
I played it at the Roxy.
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 Visage. All the underground hits.
All Eric B and Rakim tracks. I heard you have a vinyl of every The Skatalites record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a clarinet and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a DJ Sneak record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Erasure,
The Alarm Clocks,
Sunsets and Hearts,
Magazine,
The Pop Group,
Grandmaster Flash,
Kas Product,
Skaos,
The Star Department,
Peter and Kerry,
New Age Steppers,
Bobby Byrd,
Neil Young & Crazy Horse,
The Misunderstood,
Can,
Roger Hodgson,
Radiohead,
Lyres,
Dennis Brown,
Delon & Dalcan,
The Gun Club,
Al Stewart,
Avey Tare & Kría Brekkan,
Orchestral Manoeuvres in the Dark,
Ohio Players,
Sun City Girls,
Echospace,
The Blackbyrds,
The Shadows of Knight,
Selector Dub Narcotic,
Marcia Griffiths,
Barry Ungar,
Cybotron,
Derrick Morgan,
Monolake,
The Fire Engines,
Harpers Bizarre,
Scion,
Jandek,
Pere Ubu,
Sun Ra Arkestra,
F. McDonald,
Frankie Knuckles,
Man Parrish,
Scientists,
Jerry's Kids,
Lizzy Mercier Descloux,
Althea and Donna,
Desert Stars,
Traffic Nightmare,
Funky Four + One,
JFA,
The Mighty Diamonds,
Ornette Coleman,
Silicon Teens,
Model 500,
Rahsaan Roland Kirk,
The Evens,
Niagra,
Fifty Foot Hose,
Essential Logic,
Sonny Sharrock,
R.M.O., R.M.O., R.M.O., R.M.O..
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.