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 Albania and from Bremen.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1973.
I'm losing my edge.
To all the kids in London and London.
I'm losing my edge to the art-school Seoul 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 spring reverb 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 Throbbing Gristle to the techno kids.
I played it at the Hacienda.
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 Selecter. All the underground hits.
All Kurtis Blow tracks. I heard you have a vinyl of every Skaos 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 '80s.
I hear you're buying a clarinet and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Walker Brothers record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
Bluetip,
Deutsch Amerikanische Freundschaft,
Tim Buckley,
Gil Scott-Heron and Jamie xx,
Andrew Ashong & Theo Parrish,
Pierre Henry,
Slave,
Deakin,
The Alarm Clocks,
The Residents,
Suburban Knight,
Dave Gahan,
The Flesh Eaters,
Depeche Mode,
Kaleidoscope,
Pole,
X-101,
Gang of Four,
Roxette,
Camron Feat. Memphis Bleek And Beenie Seigel,
Terry Callier,
The Selecter,
Funkadelic,
Kool Moe Dee,
The Blackbyrds,
Spoonie Gee,
Nik Kershaw,
The Cosmic Jokers,
Avey Tare's Slasher Flicks,
The Beau Brummels,
Dennis Brown,
Johnny Osbourne,
The Move,
Todd Rundgren,
The Young Rascals,
Leonard Cohen,
Khruangbin,
Sun City Girls,
Nas,
Radio Birdman,
Eden Ahbez,
Rekid,
Rufus Thomas,
Carl Craig,
Ultramagnetic MC's,
cv313,
Lucky Dragons,
Vladislav Delay,
Avey Tare & Kría Brekkan,
Graham Central Station,
DeepChord presents Echospace,
Godley & Creme,
The Offenders,
The Victims,
Suicide,
Nils Olav,
Amazonics,
Little Man,
Smog,
Dorothy Ashby,
The Smiths,
Country Teasers,
Bizarre Inc., Bizarre Inc., Bizarre Inc., Bizarre Inc..
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.