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 Kenya and from Lille.
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 1972.
I'm losing my edge.
To all the kids in Calgary and Columbus.
I'm losing my edge to the art-school Salvador 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 1976 at the first Wire practice in a loft in Watford.
I was working on the marimba 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 Kevin Saunderson to the grunge kids.
I played it at the Spitz.
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 Schoolly D. All the underground hits.
All Lungfish tracks. I heard you have a vinyl of every Radiohead record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a 808 and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Negative Approach record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gian Franco Pienzio,
Masters at Work,
The Walker Brothers,
Ultra Naté,
Excepter,
Laurel Aitken,
Black Flag,
Amon Düül,
Nick Fraelich,
Slave,
Basic Channel,
Rhythm & Sound,
Neu!,
Eddi Front,
Joe Finger,
Avey Tare,
Guru Guru,
Robert Görl,
The Sound,
The Litter,
Altered Images,
Cabaret Voltaire,
Graham Central Station,
Marine Girls,
Heavy D & The Boyz,
Wolf Eyes,
Pagans,
Agitation Free,
Teenage Jesus and the Jerks,
AZ,
Junior Murvin,
Chrome,
Dual Sessions,
Gil Scott-Heron & Brian Jackson,
Bush Tetras,
Metal Thangz,
John Coltrane,
Saccharine Trust,
Marshall Jefferson,
Sonic Youth,
Crispian St. Peters,
Groovy Waters,
The Flesh Eaters,
Los Fastidios,
Glenn Branca,
Yazoo,
the Slits,
Roxette,
Dave Gahan,
Sex Pistols,
Josef K,
Traffic Nightmare,
Crime,
Red Lorry Yellow Lorry,
The Detroit Cobras,
Kas Product,
Peter Gordon & Love of Life Orchestra,
Sun City Girls,
Wally Richardson,
Justin Hinds & The Dominoes, Justin Hinds & The Dominoes, Justin Hinds & The Dominoes, Justin Hinds & The Dominoes.
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.