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 the UAE and from Madrid.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1967 to 1975.
I'm losing my edge.
To all the kids in Bologna and Seoul.
I'm losing my edge to the art-school Manchester 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 theremin sounds with much patience.
I was there when Holger Czukay 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 Bobby Byrd to the electroclash 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 Barclay James Harvest. All the underground hits.
All Alison Limerick tracks. I heard you have a vinyl of every James White and The Blacks 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 '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a KRS-One record.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear that you and your band have sold your theremin 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?
Blake Baxter,
Avey Tare's Slasher Flicks,
Flamin' Groovies,
Fluxion,
La Düsseldorf,
Massinfluence,
The Durutti Column,
H. Thieme,
The Men They Couldn't Hang,
Ten City,
John Cale,
New York Dolls,
Flipper,
Main Source,
Hot Snakes,
Scion,
Sight & Sound,
Harmonia,
Dawn Penn,
Pulsallama,
The Sound,
Sex Pistols,
Fifty Foot Hose,
Reagan Youth,
Angels of Light & Akron/Family,
Funkadelic,
Chris & Cosey,
Roxy Music,
Crispian St. Peters,
Jeff Lynne,
The Standells,
Sly & The Family Stone,
The Electric Prunes,
Thee Headcoats,
The Music Machine,
Inner City,
OOIOO,
Kaleidoscope,
Barclay James Harvest,
The Index,
Groovy Waters,
Clear Light,
Con Funk Shun,
Man Parrish,
the Germs,
The Peanut Butter Conspiracy,
the Soft Cell,
Audionom,
Saccharine Trust,
Super Lover Cee & Casanova Rud,
Adolescents,
The Dave Clark Five,
Buzzcocks,
The United States of America,
Loose Ends,
Shuggie Otis,
R.M.O.,
Quadrant,
kango's stein massive,
Aural Exciters,
ABC,
Art Ensemble Of Chicago,
Cabaret Voltaire,
Mars, Mars, Mars, Mars.
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.