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 Latvia and from Tokyo.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Portland and Paris.
I'm losing my edge to the art-school Portland 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the organ sounds with much patience.
I was there when Captain Beefheart 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 Hoover to the electroclash kids.
I played it at the Troubador.
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 Rufus Thomas. All the underground hits.
All Terry Callier tracks. I heard you have a vinyl of every R.M.O. record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Severed Heads record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arthur Verocai,
Y Pants,
Minnie Riperton,
Sister Nancy,
The Gories,
Metal Thangz,
Fad Gadget,
Sex Pistols,
The Motions,
Livin' Joy,
Mandrill,
Niagra,
Joe Smooth,
The Young Rascals,
Nation of Ulysses,
Motorama,
Eric Copeland,
Soul Sonic Force,
Unwound,
Warren Ellis,
Moebius,
James Chance & The Contortions,
The Slits,
Dawn Penn,
Los Fastidios,
Gian Franco Pienzio,
Depeche Mode,
Archie Shepp,
The Music Machine,
Faraquet,
Marshall Jefferson,
The United States of America,
Marc Romboy vs. Booka Shade,
Sam Rivers,
Harpers Bizarre,
Deakin,
LL Cool J,
Moby Grape,
Young Marble Giants,
Simply Red,
Bill Wells,
Davy DMX,
Eli Mardock,
Gang Green,
Lonnie Liston Smith,
The Pop Group,
Buzzcocks,
Pylon,
The Gun Club,
The Pretty Things,
Terrestrial Tones,
Dennis Brown,
Kevin Saunderson,
Soft Machine,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Bob Dylan,
AZ,
John Cale,
Boogie Down Productions,
New Order,
Main Source,
Rotary Connection,
Be Bop Deluxe, Be Bop Deluxe, Be Bop Deluxe, Be Bop Deluxe.
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.