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 Kosovo and from Bremen.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Paris and New York.
I'm losing my edge to the art-school Lille 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 marimba sounds with much patience.
I was there when Holger Czukay 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 the Normal to the grime kids.
I played it at Cafe Wha.
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 Country Joe & The Fish. All the underground hits.
All Peter Gordon & Love of Life Orchestra tracks. I heard you have a vinyl of every Easy Going 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 '70s cut and another box set from the '90s.
I hear you're buying an oboe and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Marcia Griffiths record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sun Ra Arkestra,
Arcadia,
Fear,
The United States of America,
Super Lover Cee & Casanova Rud,
Mars,
Cecil Taylor,
Mary Jane Girls,
Little Man,
The Star Department,
Louis and Bebe Barron,
Suburban Knight,
UT,
Joe Finger,
Echo & the Bunnymen,
The Sisters of Mercy,
B.T. Express,
Pete Rock & C.L. Smooth,
The Move,
Selector Dub Narcotic,
Blossom Toes,
John Holt,
the Swans,
Bauhaus,
Angels of Light & Akron/Family,
The Blackbyrds,
Wasted Youth,
Outsiders,
Main Source,
Desert Stars,
Prince Buster,
The Remains,
The Jesus and Mary Chain,
Aaron Thompson,
Idris Muhammad,
Popol Vuh,
The Leaves,
Brass Construction,
Roger Hodgson,
Magma,
Absolute Body Control,
Negative Approach,
Graham Central Station,
Bobby Womack,
Oneida,
Intrusion,
Buzzcocks,
Peter & Gordon,
Bill Near,
the Association,
Lalo Schifrin,
Masters at Work,
Rotary Connection,
Sight & Sound,
Slick Rick,
L. Decosne,
Black Sheep,
Vaughan Mason & Crew,
the Soft Cell,
Ultravox,
Alison Limerick,
Zapp,
Half Japanese, Half Japanese, Half Japanese, Half Japanese.
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.