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 Chile and from Sao Paulo.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Paris and Manchester.
I'm losing my edge to the art-school Stockholm 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 sitar 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 Public Enemy to the funk kids.
I played it at the Troubador.
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 48th St. Collective. All the underground hits.
All the Human League tracks. I heard you have a vinyl of every Gong record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a theremin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Alison Limerick record.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oblivians,
Byron Stingily,
Drexciya,
The Wake,
Bob Dylan,
Altered Images,
Ohio Players,
Barbara Tucker,
The Cosmic Jokers,
Pet Shop Boys,
Ituana,
Nick Fraelich,
Jimmy McGriff,
The Gladiators,
Brass Construction,
Country Teasers,
Bad Manners,
Avey Tare,
cv313,
FM Einheit,
Ultramagnetic MC's,
Lee Hazlewood,
Zapp,
Oneida,
Agent Orange,
Tom Boy,
Howard Jones,
Archie Shepp,
Eli Mardock,
Severed Heads,
Louis and Bebe Barron,
Jesper Dahlbäck,
a-ha,
Rites of Spring,
Depeche Mode,
Funkadelic,
Jandek,
The Durutti Column,
New York Dolls,
Grauzone,
The Red Krayola,
Mars,
Lou Christie,
Radio Birdman,
Surgeon,
The Martian,
Heavy D & The Boyz,
Cal Tjader,
Von Mondo,
Crooked Eye,
Camron Feat. Memphis Bleek And Beenie Seigel,
Ornette Coleman,
Guru Guru,
Yellowson,
Curtis Mayfield,
Morten Harket,
The Move,
Gong,
Traffic Nightmare,
Second Layer,
Nation of Ulysses,
Alice Coltrane,
Thinking Fellers Union Local 282, Thinking Fellers Union Local 282, Thinking Fellers Union Local 282, Thinking Fellers Union Local 282.
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.