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 Andorra and from Cairo.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Salvador and Lyon.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the harpsichord 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 Ultramagnetic MC's to the rock kids.
I played it at CBGB's.
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 Susan Cadogan. All the underground hits.
All The Monks tracks. I heard you have a vinyl of every Althea and Donna record on German import.
I heard that you have a white label of every seminal electroclash 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 güiro and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Television record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barclay James Harvest,
Eric Dolphy,
Masters at Work,
Gerry Rafferty,
Das Ding,
Morten Harket,
Wasted Youth,
Davy DMX,
Jawbox,
Jesper Dahlbäck,
Skriet,
Eddi Front,
Fela Kuti,
R.M.O.,
Ronan,
Black Pus,
Graham Central Station,
The Alarm Clocks,
Juan Atkins,
F. McDonald,
The Doors,
Ten City,
La Düsseldorf,
Faraquet,
The Fire Engines,
James White and The Blacks,
Circle Jerks,
Visionaries,LMNO, T- Love & Iriscience,
Electric Prunes,
Skaos,
Eyeless In Gaza,
Pierre Henry,
The Moleskins,
Delon & Dalcan,
Guru Guru,
Lou Reed & John Cale,
Bang on a Can All-Stars,
Amon Düül II,
Barrington Levy,
Notorious Big And Bone Thugs,
The Sonics,
The Selecter,
KRS-One,
The New Christs,
Ronnie Foster,
Interpol,
John Lydon,
the Soft Cell,
Bronski Beat,
Pantaleimon,
Bootsy's Rubber Band,
Thompson Twins,
L. Decosne,
The Peanut Butter Conspiracy,
Easy Going,
Mr. Review,
Derrick May,
The Litter,
Barbara Tucker,
Wolf Eyes,
The Vogues,
Ohio Players,
Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch.
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.