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 Laos and from Delhi.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Jakarta and Manchester.
I'm losing my edge to the art-school Edmonton 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 1978 at the first Visage practice in a loft in London.
I was working on the harpsichord sounds with much patience.
I was there when Donald Fagen 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 Notorious BIG live in Amsterdam to the crunk kids.
I played it at the 40 Watt.
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 Jawbox. All the underground hits.
All Wire tracks. I heard you have a vinyl of every Radiopuhelimet record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Quando Quango record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nick Cave & The Bad Seeds,
Sight & Sound,
Hardrive,
Idris Muhammad,
Yusef Lateef,
Subhumans,
Michelle Simonal,
Gil Scott-Heron & Brian Jackson,
Black Sheep,
CMW,
Jeff Mills,
Mantronix,
Joyce Sims,
The Pop Group,
kango's stein massive,
Pagans,
Ash Ra Tempel,
Warsaw,
Liaisons Dangereuses,
Unrelated Segments,
ABC,
Gregory Isaacs,
Sonny Sharrock,
Visage,
John Lydon,
Gabor Szabo,
Gastr Del Sol,
Desert Stars,
Terrestrial Tones,
Panda Bear,
Eddi Front,
Pharaoh Sanders and the Fire Engines,
Livin' Joy,
Index,
The Standells,
Hoover,
Roy Ayers Ubiquity,
Delon & Dalcan,
Vladislav Delay,
Fugazi,
Trumans Water,
Ituana,
Max Romeo,
The Men They Couldn't Hang,
Silicon Teens,
Surgeon,
Underground Resistance,
Drexciya,
Roxy Music,
Joensuu 1685,
Deutsch Amerikanische Freundschaft,
Symarip,
The United States of America,
Ornette Coleman,
The Human League,
Toni Rubio,
The Gap Band,
The Angels of Light,
Monks, Monks, Monks, Monks.
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.