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 Kuwait and from Beijing.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1979.
I'm losing my edge.
To all the kids in Calgary and Manchester.
I'm losing my edge to the art-school Cairo 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the theremin sounds with much patience.
I was there when Holger Czukay 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 Eli Mardock to the rap 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 Sun City Girls. All the underground hits.
All Mark Hollis tracks. I heard you have a vinyl of every John Lydon record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a güiro and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Moleskins record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gabor Szabo,
The Alarm Clocks,
Scott Walker + Sunn O))),
Aaron Thompson,
The Durutti Column,
Hasil Adkins,
Boredoms,
Clear Light,
Barclay James Harvest,
Super Lover Cee & Casanova Rud,
New Age Steppers,
The American Breed,
Richard Hell and the Voidoids,
The Fuzztones,
48th St. Collective,
Ponytail,
Sad Lovers and Giants,
Duran Duran,
Vladislav Delay,
Fela Kuti,
Toni Rubio,
Minnie Riperton,
Monks,
Jerry Gold Smith,
Avey Tare's Slasher Flicks,
ABBA,
Black Bananas,
Skaos,
Ultramagnetic MC's,
Infiniti,
U.S. Maple,
T.S.O.L.,
John Lydon,
Rapeman,
D'Angelo,
The Victims,
Röyhkä ja Rättö ja Lehtisalo,
Gastr Del Sol,
Stiv Bators,
Grey Daturas,
The Sisters of Mercy,
Masters at Work,
Intrusion,
Josef K,
Sound Behaviour,
Motorama,
Zapp,
London Community Gospel Choir,
The Music Machine,
Lonnie Liston Smith,
Soft Cell,
The Slits,
Outsiders,
Supertramp,
Schoolly D,
Heaven 17,
Althea and Donna,
Jawbox,
Kerrie Biddell,
the Bar-Kays,
Gang Gang Dance,
The Fortunes,
The Blues Magoos, The Blues Magoos, The Blues Magoos, The Blues Magoos.
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.