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 Costa Rica and from Bologna.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Milan and Accra.
I'm losing my edge to the art-school Salvador 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 oboe 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 The Monks to the jazz 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 Loose Ends. All the underground hits.
All FM Einheit tracks. I heard you have a vinyl of every Tim Buckley 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 '80s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Pharaoh Sanders and the Fire Engines record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Swell Maps,
Accadde A,
Glenn Branca,
Rufus Thomas,
Qualms,
Bluetip,
The Black Dice,
Erasure,
Model 500,
Ronan,
Pagans,
Rotary Connection,
Radiopuhelimet,
Liaisons Dangereuses,
Angels of Light & Akron/Family,
The Peanut Butter Conspiracy,
Fluxion,
Nick Cave & The Bad Seeds,
Lizzy Mercier Descloux,
Funky Four + One,
Ornette Coleman,
Sparks,
Brick,
Lower 48,
Funkadelic,
Jesper Dahlbäck,
The Evens,
Carl Craig,
Chris Corsano,
Mad Mike,
The Moleskins,
DNA,
Steve Hackett,
The Slits,
Prince Buster,
Deepchord,
Unwound,
Terror Squad Feat. Camron,
Soul II Soul,
Scratch Acid,
The Gories,
Marine Girls,
Stockholm Monsters,
Unrelated Segments,
The Red Krayola,
Bush Tetras,
The Count Five,
The Gladiators,
Khruangbin,
These Immortal Souls,
Cybotron,
JFA,
Depeche Mode,
Bobby Womack,
New Order,
The Dave Clark Five,
Mission of Burma,
Nils Olav,
Gabor Szabo,
Vladislav Delay,
CMW,
Michelle Simonal,
Louis and Bebe Barron,
Robert Hood,
the Normal, the Normal, the Normal, the Normal.
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.