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 Armenia and from Lille.
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 1977.
I'm losing my edge.
To all the kids in Bremen and Woodstock.
I'm losing my edge to the art-school Johannesburg 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the snare 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 Animal Collective to the techno kids.
I played it at the Astoria.
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 Maleditus Sound. All the underground hits.
All Ultra Naté tracks. I heard you have a vinyl of every the Soft Cell 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 '90s.
I hear you're buying a snare and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Eurythmics record.
I hear that you and your band have sold your oboe and bought a guitar.
I hear that you and your band have sold your guitar and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Excepter,
Peter Gordon & Love of Life Orchestra,
Gang Gang Dance,
The Music Machine,
Slave,
Orchestral Manoeuvres in the Dark,
Thee Headcoats,
Masters at Work,
The Sonics,
Teenage Jesus and the Jerks,
Man Parrish,
Circle Jerks,
Television Personalities,
Ash Ra Tempel,
Aural Exciters,
Boz Scaggs,
Joensuu 1685,
Electric Prunes,
the Slits,
The Black Dice,
In Retrospect,
Echo & the Bunnymen,
The Walker Brothers,
Technova,
Aaron Thompson,
Erasure,
Second Layer,
Theoretical Girls,
Camouflage,
PIL,
Alison Limerick,
Swans,
Average White Band,
Marshall Jefferson,
Make Up,
Skarface,
Funkadelic,
Vainqueur,
Model 500,
John Lydon,
The West Coast Pop Art Experimental Band,
Connie Case,
Flash Fearless,
the Soft Cell,
Drive Like Jehu,
The Doors,
Crime,
Pharaoh Sanders and the Fire Engines,
E-Dancer,
Bush Tetras,
Popol Vuh,
Gabor Szabo,
Jandek,
Unwound,
Oppenheimer Analysis,
The Pop Group,
Lightning Bolt,
Au Pairs,
Leonard Cohen,
Sound Behaviour, Sound Behaviour, Sound Behaviour, Sound Behaviour.
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.