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 Barbados and from Copenhagen.
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 Manila and Houston.
I'm losing my edge to the art-school Halifax 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 synthesizer 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 Excepter to the electroclash 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 Dead Boys. All the underground hits.
All Masters at Work tracks. I heard you have a vinyl of every Peter and Kerry record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a guitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Roxette record.
I hear that you and your band have sold your marimba and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Smoke,
a-ha,
Big Daddy Kane,
Warsaw,
X-101,
Lonnie Liston Smith,
Technova,
KRS-One,
the Soft Cell,
Todd Rundgren,
Quando Quango,
Susan Cadogan,
Leonard Cohen,
the Normal,
the Fania All-Stars,
Peter & Gordon,
Wire,
Circle Jerks,
The Raincoats,
Tubeway Army,
The Fortunes,
Flash Fearless,
Siglo XX,
Half Japanese,
Tropical Tobacco,
Jeff Mills,
David McCallum,
Chris Corsano,
kango's stein massive,
Judy Mowatt,
Scan 7,
Jesper Dahlbäck,
Dennis Brown,
Iggy Pop,
Moebius,
Lindisfarne,
Henry Cow,
Liliput,
Metal Thangz,
K-Klass,
Jacob Miller,
Rosa Yemen,
Vaughan Mason & Crew,
Gil Scott-Heron and Jamie xx,
DJ Style,
Eric Copeland,
Agent Orange,
Rod Modell,
Rhythim Is Rhythim,
Alton Ellis,
The Mighty Diamonds,
Inner City,
Lou Reed & John Cale,
The Gap Band,
Amon Düül,
World's Most,
Soft Cell,
Alison Limerick,
Godley & Creme,
Minnie Riperton,
Hoover,
The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band.
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.