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 Equatorial Guinea and from Philadelphia.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Houston and Madrid.
I'm losing my edge to the art-school Cairo 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 808 sounds with much patience.
I was there when Captain Beefheart 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 Alison Limerick to the rock 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 The Blackbyrds. All the underground hits.
All Grandmaster Flash tracks. I heard you have a vinyl of every The Happenings record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Curtis Mayfield 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?
Frankie Knuckles,
Sonny Sharrock,
Davy DMX,
Harpers Bizarre,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Skriet,
The Alarm Clocks,
New Order,
Marc Almond,
Audionom,
Chris & Cosey,
The New Christs,
Alison Limerick,
Index,
The Real Kids,
MDC,
Rowland S Howard / Lydia Lunch,
Angry Samoans,
Cecil Taylor,
Nick Cave & The Bad Seeds,
The Associates,
Niagra,
John Holt,
Deutsch Amerikanische Freundschaft,
Pulsallama,
Dark Day,
Excepter,
The Gun Club,
Fad Gadget,
Ultra Naté,
Scientists,
Thinking Fellers Union Local 282,
Rakim,
The Jesus and Mary Chain,
The Searchers,
Nick Fraelich,
Ken Boothe,
Q65,
Sam Rivers,
Underground Resistance,
Howard Jones,
Bang On A Can,
Robert Görl,
The Pretty Things,
Althea and Donna,
Bill Wells,
New Age Steppers,
Fifty Foot Hose,
Avey Tare's Slasher Flicks,
Soft Cell,
Urselle,
Robert Wyatt,
DNA,
The Black Dice,
Kerrie Biddell,
Moby Grape,
Gil Scott Heron,
Lizzy Mercier Descloux,
Peter Gordon & Love of Life Orchestra,
Joey Negro,
Terrestrial Tones,
Dead Boys,
T. Rex, T. Rex, T. Rex, T. Rex.
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.