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 Eritrea and from Lagos.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Stockholm and Shanghai.
I'm losing my edge to the art-school Copenhagen 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the theremin sounds with much patience.
I was there when Lou Reed 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 Talk Talk to the techno 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 Drive Like Jehu. All the underground hits.
All Toni Rubio tracks. I heard you have a vinyl of every Lakeside 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 '60s cut and another box set from the '80s.
I hear you're buying a snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Boogie Down Productions record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Bourne,
Spoonie Gee,
Nation of Ulysses,
Spandau Ballet,
The Remains,
Kauko Röyhkä ja Narttu,
Sound Behaviour,
Symarip,
Vainqueur,
Trumans Water,
Aaron Thompson,
Peter and Kerry,
New Age Steppers,
Amazonics,
Lucky Dragons,
The Smiths,
Bush Tetras,
the Bar-Kays,
Joey Negro,
Mad Mike,
Slick Rick,
Soulsonic Force,
Joyce Sims,
Dorothy Ashby,
Susan Cadogan,
Ultra Naté,
Intrusion,
Bizarre Inc.,
Don Cherry,
Aswad,
Black Bananas,
Bronski Beat,
Dawn Penn,
Fugazi,
Man Eating Sloth,
Kevin Saunderson,
The Doors,
Royal Trux,
The Move,
Parry Music,
Dark Day,
Man Parrish,
Alice Coltrane,
The Selecter,
Loose Ends,
Nirvana,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Tres Demented,
Curtis Mayfield,
Manfred Mann's Earth Band,
Rowland S Howard / Lydia Lunch,
Electric Prunes,
Funkadelic,
The Young Rascals,
Jandek,
Delta 5,
Mandrill,
Nick Fraelich,
Warsaw,
Magazine,
John Cale,
Arab on Radar,
Girls At Our Best!,
The Index, The Index, The Index, The Index.
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.