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 Ukraine and from Lyon.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Salvador and Tehran.
I'm losing my edge to the art-school Tehran 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the mellotron 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 The Doors to the punk kids.
I played it at Trash.
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 Popol Vuh. All the underground hits.
All The Gladiators tracks. I heard you have a vinyl of every New Age Steppers record on German import.
I heard that you have a white label of every seminal grunge 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 rhodes and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül II record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Little Man,
Magazine,
Amazonics,
Agitation Free,
The Peanut Butter Conspiracy,
Ken Boothe,
the Slits,
The Slackers,
Soul Sonic Force,
Stereo Dub,
The Alarm Clocks,
Bluetip,
The Invisible,
Bobby Byrd,
Rosa Yemen,
Bang On A Can,
Beasts of Bourbon,
Sunsets and Hearts,
Groovy Waters,
Intrusion,
Lalo Schifrin,
Drexciya,
Zapp,
The Tremeloes,
Ossler,
Urselle,
Barbara Tucker,
Siglo XX,
The Dead C,
Major Organ And The Adding Machine,
MDC,
Ice-T,
Gang of Four,
The Stooges,
Erasure,
The Move,
Cameo,
Judy Mowatt,
Goldenarms,
The Happenings,
Symarip,
Heavy D & The Boyz,
Crime,
Freddie Wadling,
Cecil Taylor,
Half Japanese,
Black Bananas,
Peter & Gordon,
James Chance & The Contortions,
Rod Modell,
Black Sheep,
The Vogues,
Kevin Saunderson,
The Birthday Party,
Lyres,
Vainqueur,
Cabaret Voltaire,
The Durutti Column,
Marcia Griffiths,
Los Fastidios,
It's A Beautiful Day, It's A Beautiful Day, It's A Beautiful Day, It's A Beautiful Day.
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.