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 Iceland and from Tehran.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1979.
I'm losing my edge.
To all the kids in Calgary and Portland.
I'm losing my edge to the art-school Jakarta 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 clarinet sounds with much patience.
I was there when David Bowie 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 Kango’s Stein Massive to the dance 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 Eric Copeland. All the underground hits.
All Cybotron tracks. I heard you have a vinyl of every The Smiths 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 '80s.
I hear you're buying an organ and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Stiv Bators record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Selecter,
Young Marble Giants,
Spoonie Gee,
Loose Ends,
Brass Construction,
The Doors,
The Raincoats,
Tears for Fears,
Grauzone,
The Toasters,
Make Up,
Silicon Teens,
Notorious Big And Bone Thugs,
Ice-T,
Richard Hell and the Voidoids,
Flash Fearless,
Kool G Rap & DJ Polo,
Livin' Joy,
James White and The Blacks,
The Victims,
The Move,
Vaughan Mason & Crew,
Hoover,
Youth Brigade,
Wasted Youth,
Bobby Womack,
Leonard Cohen,
Eurythmics,
Neil Young,
Roger Hodgson,
Barclay James Harvest,
Mad Mike,
John Coltrane,
Notorious BIG live in Amsterdam,
Flamin' Groovies,
Sandy B,
Albert Ayler,
Janne Schatter,
Marine Girls,
Skarface,
Can,
Lalo Schifrin,
The Seeds,
Public Enemy,
Röyhkä ja Rättö ja Lehtisalo,
This Heat,
The Cowsills,
Grey Daturas,
Bootsy's Rubber Band,
New York Dolls,
Lou Christie,
Sticky Fingaz feat. Raekwon,
Sex Pistols,
the Bar-Kays,
Wire,
Harry Pussy,
Lee Hazlewood,
Peter and Kerry,
Pharaoh Sanders and the Fire Engines,
Rites of Spring,
Terrestrial Tones, Terrestrial Tones, Terrestrial Tones, Terrestrial Tones.
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.