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 Papua New Guinea and from Madrid.
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 Bologna and Copenhagen.
I'm losing my edge to the art-school Paris 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the sitar 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 The Velvet Underground to the electroclash kids.
I played it at the Hacienda.
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 Bizarre Inc.. All the underground hits.
All Jacob Miller tracks. I heard you have a vinyl of every Colin Newman record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Move record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Glambeats Corp.,
The Dirtbombs,
A Flock of Seagulls,
Neil Young,
The Barracudas,
Danielle Patucci,
Au Pairs,
the Association,
Essential Logic,
Alice Coltrane,
Minor Threat,
Jeff Mills,
Lou Reed & Metallica,
Marine Girls,
Suicide,
David Axelrod,
Johnny Clarke,
Pet Shop Boys,
The Music Machine,
The Leaves,
Underground Resistance,
Pete Rock & C.L. Smooth,
Camberwell Now,
Lalann,
Tropical Tobacco,
Joe Smooth,
EPMD,
Notorious BIG live in Amsterdam,
Harpers Bizarre,
Man Parrish,
Silicon Teens,
The Busters,
Khruangbin,
Bootsy's Rubber Band,
Con Funk Shun,
Eurythmics,
Black Pus,
Alison Limerick,
Whodini,
Bush Tetras,
Sun Ra Arkestra,
Mark Hollis,
The United States of America,
Inner City,
Motorama,
Los Fastidios,
The Shadows of Knight,
Moebius,
Kenny Larkin,
Shoche,
Barry Ungar,
U.S. Maple,
Traffic Nightmare,
Beasts of Bourbon,
Neu!,
David Bowie,
Delta 5,
Black Flag,
UT,
Barclay James Harvest,
Deepchord,
Fad Gadget,
Y Pants,
Lizzy Mercier Descloux, Lizzy Mercier Descloux, Lizzy Mercier Descloux, Lizzy Mercier Descloux.
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.