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 Lithuania and from Madrid.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Winnipeg and Shanghai.
I'm losing my edge to the art-school Columbus 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 theremin 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 Howard Jones to the punk kids.
I played it at the Spitz.
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 Lafayette Afro Rock Band. All the underground hits.
All Country Teasers tracks. I heard you have a vinyl of every Liaisons Dangereuses 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 '50s cut and another box set from the '70s.
I hear you're buying a sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a a-ha record.
I hear that you and your band have sold your linndrum and bought a marimba.
I hear that you and your band have sold your marimba and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Morten Harket,
Cheater Slicks,
Art Ensemble Of Chicago,
Kerrie Biddell,
The Young Rascals,
Andrew Ashong & Theo Parrish,
Sparks,
June Days,
Strawberry Alarm Clock,
the Bar-Kays,
Chris Corsano,
Amon Düül,
The Slits,
Marvin Gaye,
Charles Mingus,
Gil Scott Heron,
Khruangbin,
Deadbeat,
48th St. Collective,
Wolf Eyes,
the Normal,
The Sonics,
Anakelly,
Second Layer,
The Chocolate Watch Band,
Y Pants,
Spoonie Gee,
James White and The Blacks,
Oblivians,
the Slits,
Bobby Byrd,
Lightning Bolt,
The Grass Roots,
Scott Walker,
Glambeats Corp.,
Beasts of Bourbon,
Skriet,
Interpol,
Nas,
UT,
Visionaries,LMNO, T- Love & Iriscience,
Young Marble Giants,
Quando Quango,
10cc,
Jeff Mills,
Sight & Sound,
Negative Approach,
Livin' Joy,
Kurtis Blow,
New York Dolls,
London Community Gospel Choir,
Mad Mike,
Cameo,
Derrick May,
Agitation Free,
The Slackers,
Major Organ And The Adding Machine,
Ajijia Myrayebe,
Ultravox,
Main Source,
Judy Mowatt,
Bauhaus,
Jerry's Kids,
Susan Cadogan, Susan Cadogan, Susan Cadogan, Susan Cadogan.
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.