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 Monaco and from Madrid.
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 1974.
I'm losing my edge.
To all the kids in Halifax and Manchester.
I'm losing my edge to the art-school Winnipeg 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 1973 at the first Television practice in a loft in New York.
I was working on the linndrum sounds with much patience.
I was there when Michael McDonald 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 Fatback Band to the techno 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 Kenny Larkin. All the underground hits.
All Crime tracks. I heard you have a vinyl of every Organ record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Au Pairs record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hoover,
Rufus Thomas,
The Fortunes,
The Martian,
Larry & the Blue Notes,
Spoonie Gee,
Index,
Delon & Dalcan,
Japan,
Lyres,
Kerrie Biddell,
The Birthday Party,
Groovy Waters,
Josef K,
Manfred Mann's Earth Band,
Henry Cow,
Curtis Mayfield,
Skarface,
Stockholm Monsters,
The Move,
Byron Stingily,
New Age Steppers,
Ultramagnetic MC's,
Boogie Down Productions,
Public Image Ltd.,
Tubeway Army,
The Cowsills,
Fatback Band,
Kauko Röyhkä ja Narttu,
Make Up,
Magazine,
The Pop Group,
Andrew Hill,
Sarah Menescal,
Blancmange,
The Knickerbockers,
Ultimate Spinach,
David McCallum,
Underground Resistance,
The Index,
The Moleskins,
Jawbox,
John Lydon,
Panda Bear,
Bobby Hutcherson,
Dark Day,
Pagans,
Toni Rubio,
Sticky Fingaz feat. Raekwon,
Matthew Halsall,
KRS-One,
Wolf Eyes,
Barclay James Harvest,
Charles Mingus,
The Divine Comedy,
The Wake,
Television Personalities,
James White and The Blacks,
Unwound,
Aloha Tigers,
Gerry Rafferty, Gerry Rafferty, Gerry Rafferty, Gerry Rafferty.
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.