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 Grenada and from Johannesburg.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1974.
I'm losing my edge.
To all the kids in Bologna and Manchester.
I'm losing my edge to the art-school Winnipeg 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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the sitar sounds with much patience.
I was there when David Bowie 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 Sun City Girls to the punk kids.
I played it at the Roxy.
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 Robert Wyatt. All the underground hits.
All Robert Görl tracks. I heard you have a vinyl of every Basic Channel record on German import.
I heard that you have a white label of every seminal funk 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 spring reverb and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Tremeloes record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lee Hazlewood,
Masters at Work,
Bush Tetras,
The Black Dice,
Radiohead,
Model 500,
Gian Franco Pienzio,
Al Stewart,
the Slits,
U.S. Maple,
Lalann,
a-ha,
Sunsets and Hearts,
KRS-One,
In Retrospect,
Ice-T,
The Dead C,
Maleditus Sound,
Bootsy Collins,
Buzzcocks,
Louis and Bebe Barron,
Theoretical Girls,
Rotary Connection,
The Walker Brothers,
Alice Coltrane,
Cabaret Voltaire,
Brothers Johnson,
Rosa Yemen,
Tim Buckley,
Henry Cow,
Mad Mike,
The Dirtbombs,
K-Klass,
Warren Ellis,
Wally Richardson,
Traffic Nightmare,
Ajijia Myrayebe,
Niagra,
Notorious BIG live in Amsterdam,
Bobby Sherman,
Boogie Down Productions,
Lower 48,
Ronnie Foster,
Kayak,
Morten Harket,
Sly & The Family Stone,
John Foxx,
The Techniques,
Sugar Minott,
Sad Lovers and Giants,
Ponytail,
Mo-Dettes,
Goldenarms,
A Certain Ratio,
Gil Scott Heron,
Man Parrish,
the Human League,
Blake Baxter,
The Divine Comedy,
Lonnie Liston Smith,
Minny Pops,
Bob Dylan,
The Peanut Butter Conspiracy, The Peanut Butter Conspiracy, The Peanut Butter Conspiracy, The Peanut Butter Conspiracy.
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.