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 Kosovo and from Copenhagen.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Lagos and Mumbai.
I'm losing my edge to the art-school Portland 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 arpeggiator sounds with much patience.
I was there when Nile Rodgers 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 Maurizio to the techno kids.
I played it at Trash.
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 Fear. All the underground hits.
All Fort Wilson Riot tracks. I heard you have a vinyl of every The Move record on German import.
I heard that you have a white label of every seminal grunge 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 sitar and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Max Romeo record.
I hear that you and your band have sold your linndrum and bought a 808.
I hear that you and your band have sold your 808 and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mo-Dettes,
Electric Prunes,
Sugar Minott,
Pantaleimon,
Jeff Mills,
Dawn Penn,
Judy Mowatt,
Grandmaster Flash,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Tropical Tobacco,
Marcia Griffiths,
The Peanut Butter Conspiracy,
Juan Atkins,
Interpol,
Bobby Byrd,
Subhumans,
Sarah Menescal,
Jeff Lynne,
Lou Christie,
Jesper Dahlbäck,
The Doobie Brothers,
Lebanon Hanover,
Monolake,
John Coltrane,
Gregory Isaacs,
Khruangbin,
Nico,
Eurythmics,
Derrick May,
Clear Light,
Ken Boothe,
The West Coast Pop Art Experimental Band,
Freddie Wadling,
the Germs,
The Detroit Cobras,
Aural Exciters,
Susan Cadogan,
Minny Pops,
Kerri Chandler,
The Gap Band,
Heaven 17,
The Slackers,
Chris & Cosey,
F. McDonald,
Selector Dub Narcotic,
Aloha Tigers,
Ossler,
The Royal Family And The Poor,
John Holt,
Soul II Soul,
the Soft Cell,
The Busters,
Country Joe & The Fish,
The Walker Brothers,
Ultravox,
Vainqueur,
The Selecter,
Rakim,
Masters at Work,
Ronnie Foster,
The Doors,
Circle Jerks, Circle Jerks, Circle Jerks, Circle Jerks.
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.