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 St Lucia and from Delhi.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Spokane and Paris.
I'm losing my edge to the art-school Milan 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 808 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 The Velvet Underground to the disco 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 Rapeman. All the underground hits.
All Vaughan Mason & Crew tracks. I heard you have a vinyl of every Marcia Griffiths record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a clarinet and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Janne Schatter record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lucky Dragons,
Procol Harum,
Ornette Coleman,
Silicon Teens,
Theoretical Girls,
The Kinks,
The Techniques,
Yazoo,
The Barracudas,
Amon Düül,
The Beau Brummels,
Lizzy Mercier Descloux,
Trumans Water,
Khruangbin,
The Index,
K-Klass,
Grandmaster Flash,
Robert Hood,
Johnny Clarke,
Sandy B,
Robert Wyatt,
A Certain Ratio,
Urselle,
Richard Hell and the Voidoids,
Fatback Band,
Marc Romboy vs. Booka Shade,
Barclay James Harvest,
The Royal Family And The Poor,
Tears for Fears,
Au Pairs,
Black Sheep,
Gang Green,
Excepter,
Fluxion,
Amon Düül II,
Ultravox,
John Coltrane,
Pantytec,
Eurythmics,
Spandau Ballet,
LL Cool J,
Rod Modell,
Peter & Gordon,
Malaria!,
The Cramps,
Suburban Knight,
Kauko Röyhkä ja Narttu,
Pere Ubu,
Gang Starr,
Negative Approach,
The Happenings,
June Days,
Eve St. Jones,
The Remains,
Panda Bear,
Intrusion,
Sad Lovers and Giants,
Maleditus Sound,
New Order,
Delon & Dalcan,
The United States of America,
Gregory Isaacs,
The Alarm Clocks, The Alarm Clocks, The Alarm Clocks, The Alarm Clocks.
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.