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 Turkey and from Stockholm.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Bremen and Edmonton.
I'm losing my edge to the art-school Seoul 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 linndrum 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 Ultimate Spinach to the jazz 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 Echo & the Bunnymen. All the underground hits.
All PIL tracks. I heard you have a vinyl of every Robert Görl record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a snare and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül record.
I hear that you and your band have sold your sitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lizzy Mercier Descloux,
Liaisons Dangereuses,
The American Breed,
Sandy B,
Kool G Rap & DJ Polo,
Symarip,
Faust,
Eli Mardock,
Pharaoh Sanders and the Fire Engines,
The Pretty Things,
MC5,
Deakin,
Pere Ubu,
Kango’s Stein Massive,
Johnny Osbourne,
The Mojo Men,
Tom Boy,
The Buckinghams,
Flamin' Groovies,
Los Fastidios,
Boogie Down Productions,
Barclay James Harvest,
Chris & Cosey,
The Skatalites,
Robert Hood,
Heavy D & The Boyz,
Funky Four + One,
Half Japanese,
Heaven 17,
Mark Hollis,
Soft Machine,
U.S. Maple,
Aloha Tigers,
The Vogues,
Essential Logic,
Andrew Ashong & Theo Parrish,
Louis and Bebe Barron,
Marmalade,
Masters at Work,
Electric Prunes,
Mo-Dettes,
F. McDonald,
Swell Maps,
Cabaret Voltaire,
The Moleskins,
Man Eating Sloth,
Rahsaan Roland Kirk,
Terry Callier,
PIL,
Reagan Youth,
Saccharine Trust,
Simply Red,
Susan Cadogan,
Peter Gordon & Love of Life Orchestra,
Delon & Dalcan,
The Smoke,
Kas Product,
UT,
Infiniti,
Johnny Clarke,
Gil Scott-Heron and Jamie xx,
Don Cherry,
Mad Mike, Mad Mike, Mad Mike, Mad Mike.
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.