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 Tuvalu and from Bologna.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1977.
I'm losing my edge.
To all the kids in Hong Kong and Columbus.
I'm losing my edge to the art-school Milan 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 clarinet 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 Birthday Party to the dance 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 The Wake. All the underground hits.
All The Five Americans tracks. I heard you have a vinyl of every a-ha 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 '60s cut and another box set from the '90s.
I hear you're buying an organ and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Kevin Saunderson record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The American Breed,
Monolake,
Index,
Crispy Ambulance,
Kauko Röyhkä ja Narttu,
Arthur Verocai,
The Dirtbombs,
the Sonics,
Reagan Youth,
Peter Gordon & Love of Life Orchestra,
Anthony Braxton,
The Knickerbockers,
Isaac Hayes,
The Vogues,
Be Bop Deluxe,
Brick,
Man Parrish,
Gang Gang Dance,
Josef K,
Orchestral Manoeuvres in the Dark,
Erasure,
Siouxsie and the Banshees,
Girls At Our Best!,
Pantaleimon,
Barclay James Harvest,
DJ Sneak,
Lucky Dragons,
Masters at Work,
The Associates,
The Walker Brothers,
The Sisters of Mercy,
The Martian,
Public Image Ltd.,
The Motions,
Gil Scott Heron,
Tears for Fears,
Talk Talk,
The Index,
The Misunderstood,
The Doors,
Wolf Eyes,
Echo & the Bunnymen,
Kas Product,
Scott Walker,
Neu!,
Dennis Brown,
Henry Cow,
Bizarre Inc.,
Khruangbin,
cv313,
James White and The Blacks,
Matthew Bourne,
Cabaret Voltaire,
Kerrie Biddell,
Marshall Jefferson,
Thinking Fellers Union Local 282,
Oppenheimer Analysis,
L. Decosne,
X-Ray Spex,
Unwound,
Dawn Penn,
Model 500,
Nas, Nas, Nas, Nas.
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.