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 Congo and from Manchester.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Mumbai and Stockholm.
I'm losing my edge to the art-school Calgary 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 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 The Moody Blues to the dance kids.
I played it at the Roxy.
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 Terrestrial Tones. All the underground hits.
All Jeru the Damaja tracks. I heard you have a vinyl of every The Toasters 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 '70s cut and another box set from the '70s.
I hear you're buying a guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Urselle record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Image Ltd.,
The Moleskins,
Chris & Cosey,
Roxy Music,
Sarah Menescal,
Pulsallama,
Blossom Toes,
Terrestrial Tones,
Gil Scott-Heron & Brian Jackson,
Aswad,
Depeche Mode,
Archie Shepp,
Patti Smith,
Section 25,
Masters at Work,
Lalann,
The Raincoats,
Sam Rivers,
David Axelrod,
the Slits,
Al Stewart,
Lungfish,
Judy Mowatt,
Tim Buckley,
Dennis Brown,
The Offenders,
Avey Tare,
Panda Bear,
Gang Gang Dance,
Kauko Röyhkä ja Narttu,
Skaos,
Duran Duran,
Bobby Byrd,
Tomorrow,
Television,
E-Dancer,
Country Teasers,
The Music Machine,
Glambeats Corp.,
Simply Red,
The Vogues,
Joy Division,
Sight & Sound,
Strawberry Alarm Clock,
Circle Jerks,
Popol Vuh,
John Lydon,
Fifty Foot Hose,
Andrew Ashong & Theo Parrish,
Jandek,
In Retrospect,
Hasil Adkins,
Minnie Riperton,
Steve Hackett,
Boz Scaggs,
Rapeman,
Susan Cadogan,
Model 500,
Magma,
Dorothy Ashby,
The Stooges, The Stooges, The Stooges, The Stooges.
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.