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 Philippines and from Lagos.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Stockholm and Johannesburg.
I'm losing my edge to the art-school Johannesburg 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the snare sounds with much patience.
I was there when Donald Fagen 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 40 Watt.
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 Music Machine. All the underground hits.
All Bill Near tracks. I heard you have a vinyl of every Echospace record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a linndrum and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Amazonics record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skarface,
The Gories,
Alison Limerick,
Gichy Dan,
Spoonie Gee,
Glambeats Corp.,
Scott Walker,
Black Sheep,
The Velvet Underground,
Mark Hollis,
Joe Finger,
Excepter,
Supertramp,
Art Ensemble Of Chicago,
Scratch Acid,
Goldenarms,
David Axelrod,
Delon & Dalcan,
Letta Mbulu,
Drive Like Jehu,
Grauzone,
Man Parrish,
Grandmaster Flash and the Furious Five,
The Cramps,
Radiopuhelimet,
Donny Hathaway,
Ronnie Foster,
Bobby Byrd,
MDC,
The Moleskins,
Aaron Thompson,
Model 500,
Half Japanese,
Byron Stingily,
Black Pus,
Black Flag,
The Alarm Clocks,
Al Stewart,
The New Christs,
KRS-One,
Matthew Bourne,
Jimmy McGriff,
The Sound,
Minor Threat,
Reuben Wilson,
Skriet,
Agitation Free,
Radio Birdman,
The Walker Brothers,
Erasure,
Bush Tetras,
Avey Tare's Slasher Flicks,
The Mojo Men,
Gastr Del Sol,
Susan Cadogan,
The Gladiators,
Junior Murvin,
The Star Department,
The Tremeloes,
Peter and Kerry,
the Human League,
Stetsasonic,
Cal Tjader, Cal Tjader, Cal Tjader, Cal Tjader.
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.