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 Iraq and from Halifax.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1978.
I'm losing my edge.
To all the kids in Stockholm and Lyon.
I'm losing my edge to the art-school Toronto 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 mellotron 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 Second Layer to the jazz 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 Pierre Henry. All the underground hits.
All Pierre Henry tracks. I heard you have a vinyl of every Silicon Teens 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 an arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Marc Romboy vs. Booka Shade record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ash Ra Tempel,
Jandek,
Rakim,
In Retrospect,
Subhumans,
The Slits,
The Mighty Diamonds,
Swans,
Anakelly,
Q65,
Joyce Sims,
Japan,
Dead Boys,
Gang of Four,
Lee Hazlewood,
Camron Feat. Memphis Bleek And Beenie Seigel,
Soul II Soul,
Malaria!,
Joy Division,
John Holt,
Jacques Brel,
Essential Logic,
A Certain Ratio,
Johnny Osbourne,
Joe Smooth,
Lizzy Mercier Descloux,
Camron Feat. Jay Z And Juelz,
T.S.O.L.,
Depeche Mode,
Sad Lovers and Giants,
The Men They Couldn't Hang,
James White and The Blacks,
Delta 5,
New Order,
Franke,
Radiopuhelimet,
Lafayette Afro Rock Band,
John Cale,
Nico,
John Lydon,
Roxy Music,
Saccharine Trust,
Siglo XX,
Kango’s Stein Massive,
Andrew Ashong & Theo Parrish,
Ultra Naté,
Das Ding,
Easy Going,
Masters at Work,
Warren Ellis,
Beasts of Bourbon,
Scott Walker,
Kurtis Blow,
The Gladiators,
Gil Scott Heron,
Toni Rubio,
Vaughan Mason & Crew,
Matthew Halsall,
cv313,
Hot Snakes,
Pet Shop Boys, Pet Shop Boys, Pet Shop Boys, Pet Shop Boys.
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.