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 Seychelles and from Seoul.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Stockholm and Lyon.
I'm losing my edge to the art-school Johannesburg 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 organ sounds with much patience.
I was there when Captain Beefheart 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 Scion to the jazz kids.
I played it at CBGB's.
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 Happenings. All the underground hits.
All Ohio Players tracks. I heard you have a vinyl of every Liliput 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 '60s cut and another box set from the '80s.
I hear you're buying a snare and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Prince Buster record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultravox,
Wings,
Eric B and Rakim,
The Blues Magoos,
Rosa Yemen,
Jandek,
Avey Tare,
Marc Almond,
Darondo,
Lee Hazlewood,
Derrick May,
LL Cool J,
Bizarre Inc.,
Kerrie Biddell,
The Birthday Party,
Röyhkä ja Rättö ja Lehtisalo,
Hot Snakes,
Vainqueur,
The Evens,
kango's stein massive,
Aaron Thompson,
Robert Görl,
Minor Threat,
The Leaves,
Joey Negro,
Gichy Dan,
Archie Shepp,
Yazoo,
Soft Machine,
Pantaleimon,
Todd Terry,
The Black Dice,
Adolescents,
Duran Duran,
Flash Fearless,
Rites of Spring,
The Shadows of Knight,
Matthew Bourne,
Sight & Sound,
Pharaoh Sanders and the Fire Engines,
Deakin,
Animal Collective,
Camouflage,
Eurythmics,
Gil Scott-Heron & Brian Jackson,
Fat Boys,
Neil Young,
Deepchord,
The Cramps,
Television,
Grey Daturas,
The J.B.'s,
Clear Light,
The Flesh Eaters,
Dorothy Ashby,
The American Breed,
John Lydon,
Albert Ayler,
Circle Jerks,
Faraquet, Faraquet, Faraquet, Faraquet.
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.