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 the UAE and from Bologna.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Mumbai and Seoul.
I'm losing my edge to the art-school Copenhagen 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the sitar 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 Avey Tare to the crunk kids.
I played it at the Crocodile.
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 Kerrie Biddell. All the underground hits.
All New Age Steppers tracks. I heard you have a vinyl of every Grauzone 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 '50s cut and another box set from the '90s.
I hear you're buying a guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Sexual Harrassment record.
I hear that you and your band have sold your 808 and bought a theremin.
I hear that you and your band have sold your theremin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Index,
The Saints,
Traffic Nightmare,
the Germs,
Soft Machine,
Nation of Ulysses,
Sun Ra Arkestra,
Fatback Band,
Kenny Larkin,
Simply Red,
Fort Wilson Riot,
Bauhaus,
Warren Ellis,
Ohio Players,
Can,
The Standells,
The Kinks,
Gastr Del Sol,
Nico,
Michelle Simonal,
Prince Buster,
Vladislav Delay,
Henry Cow,
Lyres,
Oneida,
Lower 48,
Lalann,
D'Angelo,
Dual Sessions,
Maleditus Sound,
Masters at Work,
Jawbox,
Moss Icon,
The Cowsills,
Dark Day,
New Order,
8 Eyed Spy,
Television,
Bush Tetras,
David McCallum,
Babytalk,
Tomorrow,
Ultramagnetic MC's,
MC5,
Sunsets and Hearts,
Lou Christie,
Blossom Toes,
Kool G Rap & DJ Polo,
Man Parrish,
The Motions,
Vaughan Mason & Crew,
Fear,
Charles Mingus,
The Sonics,
Neil Young & Crazy Horse,
Country Teasers,
Model 500,
Orchestral Manoeuvres in the Dark,
Siouxsie and the Banshees,
The Victims,
Echospace,
The Birthday Party,
Sonny Sharrock,
Scratch Acid, Scratch Acid, Scratch Acid, Scratch Acid.
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.