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 United Kingdom and from Paris.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 1974.
I'm losing my edge.
To all the kids in Paris and Bremen.
I'm losing my edge to the art-school Johannesburg 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 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 Depeche Mode to the dance kids.
I played it at the Astoria.
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 Von Mondo. All the underground hits.
All Bobby Hutcherson tracks. I heard you have a vinyl of every The Monks record on German import.
I heard that you have a white label of every seminal jazz 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 linndrum and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Glambeats Corp. record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Slits,
48th St. Collective,
Nas,
Gang Gang Dance,
The Fugs,
Newcleus,
Hasil Adkins,
Cal Tjader,
Jeru the Damaja,
EPMD,
Ice-T,
The Jesus and Mary Chain,
Niagra,
Bobby Sherman,
La Düsseldorf,
Royal Trux,
Harmonia,
Camberwell Now,
John Cale,
Godley & Creme,
Radiopuhelimet,
Moebius,
Mandrill,
Deepchord,
Television,
Andrew Ashong & Theo Parrish,
Supertramp,
Larry & the Blue Notes,
Liaisons Dangereuses,
Fad Gadget,
The Evens,
Minnie Riperton,
Parry Music,
Boogie Down Productions,
Nik Kershaw,
Gang Starr,
Wally Richardson,
Accadde A,
Max Romeo,
Jandek,
Avey Tare & Kría Brekkan,
Metal Thangz,
Ludus,
Soul Sonic Force,
Skriet,
Khruangbin,
Cabaret Voltaire,
Sandy B,
Gil Scott-Heron and Jamie xx,
Strawberry Alarm Clock,
Interpol,
Scientists,
Bang on a Can All-Stars,
The Gories,
Freddie Wadling,
Brand Nubian,
Procol Harum,
Nico,
Gil Scott-Heron & Brian Jackson,
Iggy Pop,
The Wake,
Glenn Branca,
X-101,
Depeche Mode, Depeche Mode, Depeche Mode, Depeche Mode.
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.