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 Spain and from Lyon.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Woodstock and Portland.
I'm losing my edge to the art-school Beijing 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 rhodes sounds with much patience.
I was there when Michael McDonald 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 Arab on Radar to the crunk kids.
I played it at the Astoria.
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 Nirvana. All the underground hits.
All Howard Jones tracks. I heard you have a vinyl of every Lakeside record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Hasil Adkins record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Intrusion,
Stetsasonic,
X-102,
Bauhaus,
Eyeless In Gaza,
Colin Newman,
The Slits,
Symarip,
Tres Demented,
Laurel Aitken,
LL Cool J,
Marvin Gaye,
Judy Mowatt,
Girls At Our Best!,
Peter and Kerry,
Brass Construction,
Niagra,
The Cowsills,
Lou Reed,
Unrelated Segments,
Scientists,
Drive Like Jehu,
Au Pairs,
Organ,
Kango’s Stein Massive,
Trumans Water,
Soulsonic Force,
Alison Limerick,
The Red Krayola,
Jimmy McGriff,
Arab on Radar,
Harry Pussy,
Echo & the Bunnymen,
The Mojo Men,
Super Lover Cee & Casanova Rud,
PIL,
Cybotron,
Pete Rock & C.L. Smooth,
Swans,
Soft Cell,
Ponytail,
Sound Behaviour,
Rosa Yemen,
Peter & Gordon,
Charles Mingus,
Rakim,
The Real Kids,
Bootsy Collins,
Faust,
Brick,
Ornette Coleman,
Neu!,
Isaac Hayes,
Angry Samoans,
Hashim,
Harpers Bizarre,
Black Bananas,
Neil Young & Crazy Horse,
Anakelly,
Shuggie Otis,
Kerri Chandler,
The Smoke, The Smoke, The Smoke, The Smoke.
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.