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 Mauritius and from Copenhagen.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Shanghai and Mumbai.
I'm losing my edge to the art-school Beijing 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 1983 at the first Art of Noise practice in a loft in London.
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 Lee Hazlewood to the punk kids.
I played it at Cafe Wha.
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 Black Moon. All the underground hits.
All Terror Squad Feat. Camron tracks. I heard you have a vinyl of every Young Marble Giants record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a guitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Faraquet record.
I hear that you and your band have sold your güiro and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Audionom,
Blancmange,
Eurythmics,
Sarah Menescal,
Echospace,
Bobby Sherman,
Mission of Burma,
The Busters,
James White and The Blacks,
the Germs,
Flash Fearless,
Röyhkä ja Rättö ja Lehtisalo,
Tomorrow,
The Monochrome Set,
Dawn Penn,
Technova,
The Star Department,
Yellowson,
The Cowsills,
Ohio Players,
Aswad,
Kango’s Stein Massive,
Wighnomy Brothers & Robag Wruhme,
Notorious Big And Bone Thugs,
Groovy Waters,
48th St. Collective,
Grauzone,
Bobby Byrd,
Jawbox,
Andrew Ashong & Theo Parrish,
a-ha,
PIL,
Make Up,
Eric Dolphy,
Be Bop Deluxe,
Art Ensemble Of Chicago,
Ten City,
Mr. Review,
Stockholm Monsters,
Toni Rubio,
Leonard Cohen,
Swell Maps,
Ken Boothe,
Au Pairs,
Rekid,
Susan Cadogan,
Sonic Youth,
The Fuzztones,
The Knickerbockers,
EPMD,
Mad Mike,
Jandek,
Country Joe & The Fish,
Rod Modell,
UT,
Oppenheimer Analysis,
Danielle Patucci,
Eric B and Rakim,
the Human League,
Urselle,
The Vogues,
Jeru the Damaja,
Nico, Nico, Nico, Nico.
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.