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 Belize and from Accra.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1974.
I'm losing my edge.
To all the kids in Copenhagen and Mexico City.
I'm losing my edge to the art-school Madrid 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 the Human League to the techno kids.
I played it at the Crocodile.
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 Chris & Cosey. All the underground hits.
All Laurel Aitken tracks. I heard you have a vinyl of every Ituana 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 '50s cut and another box set from the '70s.
I hear you're buying a sitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Walker Brothers record.
I hear that you and your band have sold your linndrum and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Colin Newman,
This Heat,
Pagans,
These Immortal Souls,
Graham Central Station,
Jacob Miller,
Major Organ And The Adding Machine,
Alton Ellis,
Wolf Eyes,
Zapp,
Nik Kershaw,
Maleditus Sound,
Boz Scaggs,
Eric Copeland,
Pantaleimon,
Popol Vuh,
Faraquet,
Massinfluence,
The Happenings,
Soul Sonic Force,
H. Thieme,
The Invisible,
Sad Lovers and Giants,
The Star Department,
Minutemen,
Louis and Bebe Barron,
Aaron Thompson,
Soft Cell,
Intrusion,
Juan Atkins,
Swans,
Rotary Connection,
Tears for Fears,
Bill Wells,
Strawberry Alarm Clock,
the Human League,
Public Image Ltd.,
Sandy B,
Robert Hood,
The Monks,
It's A Beautiful Day,
The Jesus and Mary Chain,
Motorama,
Chrome,
Oblivians,
Laurel Aitken,
Cameo,
The Fuzztones,
The Fall,
Infiniti,
Aloha Tigers,
Barbara Tucker,
Don Cherry,
Peter & Gordon,
Michelle Simonal,
The Moody Blues,
Roxy Music,
Pharoah Sanders,
Stockholm Monsters,
The Grass Roots,
Pharaoh Sanders and the Fire Engines,
Kas Product,
Scion, Scion, Scion, Scion.
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.