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 Micronesia and from Salvador.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1967 to 1976.
I'm losing my edge.
To all the kids in Shanghai and Tokyo.
I'm losing my edge to the art-school Edmonton 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 rhodes sounds with much patience.
I was there when Tom Verlaine 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 Blossom Toes to the crunk kids.
I played it at the 40 Watt.
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 Lakeside. All the underground hits.
All Sexual Harrassment tracks. I heard you have a vinyl of every Glambeats Corp. record on German import.
I heard that you have a white label of every seminal grime 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 synthesizer and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Sällskapet record.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Sound,
Pere Ubu,
Andrew Ashong & Theo Parrish,
These Immortal Souls,
Interpol,
Robert Wyatt,
Monks,
Cabaret Voltaire,
Crime,
Louis and Bebe Barron,
Alison Limerick,
Gil Scott Heron,
Lalann,
The Gun Club,
Fifty Foot Hose,
The Monks,
The Offenders,
Porter Ricks,
Unrelated Segments,
Nils Olav,
Idris Muhammad,
Tim Buckley,
Iggy Pop,
Arthur Verocai,
The West Coast Pop Art Experimental Band,
Susan Cadogan,
Technova,
Joensuu 1685,
The J.B.'s,
The Doors,
Neil Young,
Trumans Water,
Scion,
KRS-One,
The Jesus and Mary Chain,
Anakelly,
New Order,
The Pop Group,
The Wake,
Rahsaan Roland Kirk,
Amazonics,
Chris Corsano,
Rapeman,
The Royal Family And The Poor,
Mandrill,
Nas,
Fluxion,
Sunsets and Hearts,
Stereo Dub,
Dr. Dre and Snoop Doggy Dog,
The Happenings,
Max Romeo,
The Count Five,
Ten City,
Siouxsie and the Banshees,
Second Layer,
Public Image Ltd.,
Youth Brigade,
The Saints,
the Human League,
Chrome,
Joyce Sims,
Blake Baxter,
Drexciya,
Matthew Halsall, Matthew Halsall, Matthew Halsall, Matthew Halsall.
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.