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 Estonia and from Sao Paulo.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Stockholm and Edmonton.
I'm losing my edge to the art-school Stockholm 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 1973 at the first Television practice in a loft in New York.
I was working on the linndrum sounds with much patience.
I was there when Robert Palmer 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 Black Moon to the dance kids.
I played it at the Astoria.
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 Interpol. All the underground hits.
All The Star Department tracks. I heard you have a vinyl of every Amon Düül II record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a clarinet and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Kerrie Biddell record.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scott Walker,
The Toasters,
Public Enemy,
Cheater Slicks,
Sound Behaviour,
Nick Fraelich,
Kas Product,
Ultra Naté,
Lafayette Afro Rock Band,
The Blackbyrds,
DJ Sneak,
The Black Dice,
Scion,
Gang Green,
Icehouse,
Nico,
Cal Tjader,
The Skatalites,
Arcadia,
Con Funk Shun,
Negative Approach,
Interpol,
Maurizio,
Moby Grape,
James White and The Blacks,
Lou Reed & John Cale,
Donny Hathaway,
Black Bananas,
The Evens,
Hardrive,
Connie Case,
UT,
Patti Smith,
Ultravox,
Harpers Bizarre,
Q and Not U,
Harmonia,
Agent Orange,
Jimmy McGriff,
Henry Cow,
Boogie Down Productions,
Spoonie Gee,
Marc Romboy vs. Booka Shade,
Albert Ayler,
Faust,
Rahsaan Roland Kirk,
Au Pairs,
Sarah Menescal,
Godley & Creme,
Simply Red,
Deadbeat,
DeepChord presents Echospace,
The Offenders,
Technova,
Sight & Sound,
Ajijia Myrayebe,
Red Lorry Yellow Lorry,
Pantaleimon,
Country Joe & The Fish,
The Cosmic Jokers, The Cosmic Jokers, The Cosmic Jokers, The Cosmic Jokers.
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.