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 Togo and from Glasgow.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Bologna and Mumbai.
I'm losing my edge to the art-school Houston 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 at the first Suicide practice in a loft in New York.
I was working on the organ sounds with much patience.
I was there when Tom Verlaine 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 Half Japanese to the jazz kids.
I played it at the Spitz.
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 Accadde A. All the underground hits.
All Lalo Schifrin tracks. I heard you have a vinyl of every F. McDonald 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 '60s cut and another box set from the '90s.
I hear you're buying a mellotron and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Sunsets and Hearts record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Monks,
Swell Maps,
Groovy Waters,
Tres Demented,
Lindisfarne,
The Doobie Brothers,
Jesper Dahlbäck,
MC5,
Anthony Braxton,
Faust,
Metal Thangz,
The American Breed,
Sam Rivers,
Soft Cell,
Mars,
Television,
Das Ding,
Funkadelic,
Bush Tetras,
Minnie Riperton,
Traffic Nightmare,
Tim Buckley,
Rowland S Howard / Lydia Lunch,
Desert Stars,
Tom Boy,
Faraquet,
Terry Callier,
Drive Like Jehu,
Echo & the Bunnymen,
John Cale,
Spandau Ballet,
Fear,
Barry Ungar,
The Techniques,
Eric B and Rakim,
Gastr Del Sol,
Von Mondo,
Steve Hackett,
Flipper,
Barclay James Harvest,
Wally Richardson,
Rites of Spring,
Kauko Röyhkä ja Narttu,
Bizarre Inc.,
David McCallum,
The Smoke,
Magazine,
Harmonia,
Gary Puckett & The Union Gap,
Sonny Sharrock,
Gian Franco Pienzio,
Jesper Dahlback,
Deakin,
Dr. Dre and Snoop Doggy Dog,
Roxette,
Eve St. Jones,
Tomorrow,
The Smiths,
Art Ensemble Of Chicago,
The Standells,
A Certain Ratio,
Boredoms,
Darondo, Darondo, Darondo, Darondo.
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.