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 New Zealand and from Milan.
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 1975.
I'm losing my edge.
To all the kids in Bologna and Mexico City.
I'm losing my edge to the art-school Shanghai 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the harpsichord 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 Unwound to the rock kids.
I played it at Cafe Wha.
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 ABC. All the underground hits.
All Be Bop Deluxe tracks. I heard you have a vinyl of every Khruangbin record on German import.
I heard that you have a white label of every seminal disco 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 mellotron and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Brick record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Louis and Bebe Barron,
Public Enemy,
Franke,
The Fortunes,
Gang Gang Dance,
Joe Smooth,
Tears for Fears,
T. Rex,
Pharoah Sanders,
Deakin,
Das Ding,
Lalann,
Audionom,
Smog,
Clear Light,
The Grass Roots,
Crispian St. Peters,
The Sound,
EPMD,
Tim Buckley,
Black Pus,
Donald Byrd,
Lucky Dragons,
Kauko Röyhkä ja Narttu,
Alice Coltrane,
Arthur Verocai,
Oppenheimer Analysis,
Deepchord,
Kango’s Stein Massive,
Cecil Taylor,
The Residents,
Vainqueur,
Bob Dylan,
John Foxx,
Bizarre Inc.,
Pete Rock & C.L. Smooth,
Essential Logic,
Cal Tjader,
The Doors,
Howard Jones,
the Soft Cell,
Neu!,
Section 25,
Robert Wyatt,
Röyhkä ja Rättö ja Lehtisalo,
Archie Shepp,
Kings Of Tomorrow,
The Music Machine,
Isaac Hayes,
Wighnomy Brothers & Robag Wruhme,
Rhythim Is Rhythim,
Wolf Eyes,
Jeru the Damaja,
The Index,
Ultimate Spinach,
Spoonie Gee,
Hot Snakes,
Major Organ And The Adding Machine,
Average White Band,
Wasted Youth,
Con Funk Shun, Con Funk Shun, Con Funk Shun, Con Funk Shun.
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.