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 Kiribati and from Mumbai.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Glasgow and Sao Paulo.
I'm losing my edge to the art-school Sao Paulo 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the sitar 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 Bang on a Can All-Stars to the funk 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 Roy Ayers Ubiquity. All the underground hits.
All Tres Demented tracks. I heard you have a vinyl of every Popol Vuh 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 '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Audionom record.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mark Hollis,
Juan Atkins,
Blossom Toes,
Dawn Penn,
cv313,
John Coltrane,
Quadrant,
Lizzy Mercier Descloux,
Gichy Dan,
Louis and Bebe Barron,
The Moleskins,
Grandmaster Flash and the Furious Five,
Monks,
Wally Richardson,
Blancmange,
Fat Boys,
Barry Ungar,
Davy DMX,
Ten City,
Alison Limerick,
Morten Harket,
The Offenders,
Harmonia,
Skaos,
Von Mondo,
Fear,
Curtis Mayfield,
Sly & The Family Stone,
The Techniques,
Joensuu 1685,
Deakin,
Joy Division,
Sun Ra Arkestra,
Franke,
The Moody Blues,
K-Klass,
Charles Mingus,
The Names,
Pole,
Pete Rock & C.L. Smooth,
Angels of Light & Akron/Family,
The Smiths,
The Five Americans,
Donald Byrd,
Traffic Nightmare,
The Cosmic Jokers,
The Victims,
Donny Hathaway,
Bronski Beat,
Boogie Down Productions,
The Knickerbockers,
Marc Almond,
UT,
Byron Stingily,
Fad Gadget,
Funkadelic,
Yusef Lateef,
The Fortunes,
Index,
Anthony Braxton,
Khruangbin,
Throbbing Gristle,
Kerrie Biddell, Kerrie Biddell, Kerrie Biddell, Kerrie Biddell.
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.