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 Tunisia and from Bremen.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Manchester and Portland.
I'm losing my edge to the art-school Seoul 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 1984 at the first Arcadia practice in a loft in London.
I was working on the oboe sounds with much patience.
I was there when Tom Verlaine 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 Half Japanese to the punk kids.
I played it at CBGB's.
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 Smog. All the underground hits.
All Scion tracks. I heard you have a vinyl of every Warren Ellis record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a 808 and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Neil Young & Crazy Horse record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skriet,
Porter Ricks,
Eden Ahbez,
Severed Heads,
Zero Boys,
Rhythm & Sound,
The Vogues,
K-Klass,
The Fire Engines,
The Leaves,
8 Eyed Spy,
Bobby Byrd,
Flash Fearless,
Grey Daturas,
Country Teasers,
Fatback Band,
Eddi Front,
Grandmaster Flash,
Delon & Dalcan,
Rakim,
Gregory Isaacs,
Metal Thangz,
Michelle Simonal,
Minutemen,
Barbara Tucker,
The Velvet Underground,
Nik Kershaw,
The Cowsills,
the Swans,
Sun Ra Arkestra,
Can,
Fifty Foot Hose,
The Offenders,
Henry Cow,
Red Lorry Yellow Lorry,
Pole,
Joyce Sims,
The Raincoats,
a-ha,
The Stooges,
Quadrant,
Jesper Dahlbäck,
Hot Snakes,
David McCallum,
New Order,
Curtis Mayfield,
Lonnie Liston Smith,
Wire,
The Last Poets,
Pantytec,
Sound Behaviour,
Rufus Thomas,
The Cosmic Jokers,
Albert Ayler,
Au Pairs,
Neil Young,
The Men They Couldn't Hang,
R.M.O.,
World's Most,
Accadde A,
Yazoo,
Siouxsie and the Banshees,
The Divine Comedy,
Rites of Spring,
Rapeman, Rapeman, Rapeman, Rapeman.
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.