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 Korea South and from Bologna.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1979.
I'm losing my edge.
To all the kids in Copenhagen and Shanghai.
I'm losing my edge to the art-school Sao Paulo 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 linndrum sounds with much patience.
I was there when Robert Palmer 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 Tropical Tobacco to the grunge 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 Simply Red. All the underground hits.
All Kings Of Tomorrow tracks. I heard you have a vinyl of every John Coltrane 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 '70s cut and another box set from the '70s.
I hear you're buying a linndrum and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Soft Cell record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Icehouse,
Nick Cave & The Bad Seeds,
The Pretty Things,
Lizzy Mercier Descloux,
Lou Reed,
Pantaleimon,
Hashim,
The Leaves,
Carl Craig,
10cc,
Gian Franco Pienzio,
Alphaville,
The Young Rascals,
The Real Kids,
Sonny Sharrock,
Joey Negro,
Los Fastidios,
John Coltrane,
Gong,
DJ Style,
The Invisible,
Moby Grape,
The Dave Clark Five,
Swans,
Yazoo,
The Motions,
Bang On A Can,
Ronnie Foster,
Ultra Naté,
Crash Course in Science,
Ossler,
Judy Mowatt,
Camron Feat. Memphis Bleek And Beenie Seigel,
Kauko Röyhkä ja Narttu,
Gastr Del Sol,
The Chocolate Watch Band,
The Smoke,
Subhumans,
Flamin' Groovies,
Chrome,
Fort Wilson Riot,
Motorama,
Barry Ungar,
Lou Reed & Metallica,
Jerry Gold Smith,
The Barracudas,
X-Ray Spex,
Nico,
Kerri Chandler,
Piero Umiliani,
Peter Gordon & Love of Life Orchestra,
The Walker Brothers,
Soulsonic Force,
Scan 7,
Bobby Womack,
Soul Sonic Force,
Faraquet,
The Cowsills,
Mr. Review, Mr. Review, Mr. Review, Mr. Review.
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.