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 Bhutan and from New York.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Winnipeg and Halifax.
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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the snare 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 UT to the dance kids.
I played it at the Troubador.
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 the Slits. All the underground hits.
All FM Einheit tracks. I heard you have a vinyl of every James Chance & The Contortions record on German import.
I heard that you have a white label of every seminal electroclash 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 snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Golliwogs record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Peanut Butter Conspiracy,
Rites of Spring,
The Cure,
Arthur Verocai,
Rowland S Howard / Lydia Lunch,
Warren Ellis,
Louis and Bebe Barron,
Scrapy,
Jerry Gold Smith,
Sun Ra Arkestra,
The Misunderstood,
Visionaries,LMNO, T- Love & Iriscience,
Johnny Clarke,
Bobby Womack,
DeepChord presents Echospace,
Danielle Patucci,
Steve Hackett,
Amazonics,
Orchestral Manoeuvres in the Dark,
The Residents,
The Names,
Ultravox,
Man Eating Sloth,
Dual Sessions,
Icehouse,
The Slits,
Inner City,
Audionom,
Erykah Badu,
Sonny Sharrock,
Ituana,
Average White Band,
Ohio Players,
The Blackbyrds,
Jeff Mills,
Sandy B,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Nik Kershaw,
Aaron Thompson,
Drexciya,
The Fire Engines,
Harmonia,
Japan,
Boredoms,
Glenn Branca,
The Seeds,
Black Pus,
Clear Light,
Cybotron,
UT,
Suicide,
Los Fastidios,
Aural Exciters,
Guru Guru,
Maleditus Sound,
Rekid,
The Gladiators,
The Saints,
Marc Romboy vs. Booka Shade,
Don Cherry,
LL Cool J,
Soul II Soul,
Graham Central Station,
Oblivians,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.