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 Burundi and from New York.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Columbus and Bremen.
I'm losing my edge to the art-school Beijing 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the linndrum 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 Mad Mike to the crunk kids.
I played it at the Spitz.
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 Lalann. All the underground hits.
All The Durutti Column tracks. I heard you have a vinyl of every Throbbing Gristle record on German import.
I heard that you have a white label of every seminal punk 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 an organ and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Derrick Morgan record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jerry Gold Smith,
Deakin,
Mission of Burma,
Boogie Down Productions,
Alton Ellis,
ABC,
Nation of Ulysses,
Von Mondo,
Nik Kershaw,
The Walker Brothers,
Porter Ricks,
Nirvana,
The Leaves,
One Last Wish,
Pagans,
Glambeats Corp.,
De La Soul & Jungle Brothers,
JFA,
the Normal,
Godley & Creme,
The Pop Group,
Rufus Thomas,
Cameo,
The Angels of Light,
Peter & Gordon,
Sam Rivers,
Panda Bear,
The Grass Roots,
Ohio Players,
Jeff Lynne,
MC5,
Deepchord,
Gil Scott-Heron and Jamie xx,
Maurizio,
Oppenheimer Analysis,
Pharaoh Sanders and the Fire Engines,
Masters at Work,
Japan,
Andrew Hill,
Soul II Soul,
Qualms,
Tres Demented,
Rod Modell,
Joe Smooth,
Flash Fearless,
The Seeds,
Organ,
Blossom Toes,
The Toasters,
Ultimate Spinach,
Blake Baxter,
Fad Gadget,
Larry & the Blue Notes,
Black Pus,
Kas Product,
The Blues Magoos,
The Monks,
Rapeman,
Lalo Schifrin,
Anthony Braxton,
Electric Light Orchestra,
Tom Boy, Tom Boy, Tom Boy, Tom Boy.
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.