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 Johannesburg.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Taipei and Philadelphia.
I'm losing my edge to the art-school Glasgow 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the sitar 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 Michelle Simonal to the electroclash kids.
I played it at the Crocodile.
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 The Selecter. All the underground hits.
All X-102 tracks. I heard you have a vinyl of every Barry Ungar 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 '50s cut and another box set from the '80s.
I hear you're buying a mellotron and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Eric Copeland record.
I hear that you and your band have sold your snare and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultravox,
Ronnie Foster,
Pete Rock & C.L. Smooth,
Mo-Dettes,
Teenage Jesus and the Jerks,
Vladislav Delay,
Country Joe & The Fish,
Kerrie Biddell,
Red Lorry Yellow Lorry,
Lebanon Hanover,
Sight & Sound,
Sexual Harrassment,
The Walker Brothers,
Jimmy McGriff,
The Blackbyrds,
Don Cherry,
Lou Christie,
Skriet,
Blossom Toes,
Roy Ayers,
Cybotron,
Magazine,
Goldenarms,
Terry Callier,
The Royal Family And The Poor,
The Standells,
T. Rex,
Gabor Szabo,
Pet Shop Boys,
The Wake,
Avey Tare & Kría Brekkan,
Boz Scaggs,
Dead Boys,
Archie Shepp,
Babytalk,
Section 25,
Agent Orange,
Outsiders,
Deutsch Amerikanische Freundschaft,
Electric Light Orchestra,
Public Image Ltd.,
Funkadelic,
Excepter,
Lalann,
Spoonie Gee,
The Slits,
Kauko Röyhkä ja Narttu,
Sparks,
Marcia Griffiths,
Jeff Lynne,
the Bar-Kays,
UT,
Juan Atkins,
E-Dancer,
Nas,
Mr. Review,
Faust,
Quadrant,
The Victims,
Johnny Clarke,
The Five Americans,
Fat Boys,
Steve Hackett,
R.M.O.,
Kenny Larkin, Kenny Larkin, Kenny Larkin, Kenny Larkin.
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.