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 Lebanon and from Manchester.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Halifax and Bologna.
I'm losing my edge to the art-school Lille 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the organ 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 The Raincoats to the punk 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 Alison Limerick. All the underground hits.
All Young Marble Giants tracks. I heard you have a vinyl of every The Moleskins 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 '70s cut and another box set from the '70s.
I hear you're buying a spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Faraquet record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
cv313,
Yazoo,
Shoche,
Louis and Bebe Barron,
Alison Limerick,
Eric Dolphy,
The Music Machine,
Girls At Our Best!,
Oppenheimer Analysis,
The Techniques,
Arcadia,
Rapeman,
Bang on a Can All-Stars,
Nation of Ulysses,
The Young Rascals,
Brass Construction,
Byron Stingily,
Stereo Dub,
Frankie Knuckles,
Mark Hollis,
Monks,
Inner City,
Lafayette Afro Rock Band,
Stetsasonic,
Avey Tare & Kría Brekkan,
Alton Ellis,
The Names,
Sight & Sound,
Joe Smooth,
Kool Moe Dee,
Robert Hood,
Liliput,
Mars,
The Slits,
Livin' Joy,
Notorious BIG live in Amsterdam,
Black Bananas,
The Dirtbombs,
Marine Girls,
Electric Prunes,
The Blackbyrds,
Sticky Fingaz feat. Raekwon,
The Velvet Underground,
Bill Near,
Swans,
Pussy Galore,
Rowland S Howard / Lydia Lunch,
Deakin,
Sad Lovers and Giants,
Cameo,
Porter Ricks,
The Mighty Diamonds,
The Fire Engines,
Spoonie Gee,
Masters at Work,
the Sonics,
Visage,
Flipper,
Duran Duran,
Yusef Lateef,
Barbara Tucker,
Wire,
Barclay James Harvest,
MDC, MDC, MDC, MDC.
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.