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 Nigeria and from Taipei.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Stockholm and New York.
I'm losing my edge to the art-school Stockholm 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the harpsichord 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 Brass Construction to the rock kids.
I played it at the 40 Watt.
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 Gil Scott-Heron and Jamie xx. All the underground hits.
All Kings Of Tomorrow tracks. I heard you have a vinyl of every Ultravox record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Pere Ubu record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rekid,
Essential Logic,
Pole,
Organ,
Gastr Del Sol,
Hasil Adkins,
Gil Scott Heron,
The Smiths,
The Martian,
Altered Images,
Anthony Braxton,
Pussy Galore,
June Days,
The Last Poets,
Judy Mowatt,
Erasure,
Tom Boy,
Sunsets and Hearts,
Popol Vuh,
Pharoah Sanders,
Wighnomy Brothers & Robag Wruhme,
Camberwell Now,
The Pretty Things,
Harmonia,
Art Ensemble Of Chicago,
The Alarm Clocks,
Marcia Griffiths,
Gong,
Circle Jerks,
Talk Talk,
Prince Buster,
Hoover,
Arthur Verocai,
Negative Approach,
Terror Squad Feat. Camron,
Mark Hollis,
Alison Limerick,
Sun Ra Arkestra,
Marshall Jefferson,
Fort Wilson Riot,
Surgeon,
Eric Copeland,
Echo & the Bunnymen,
Oppenheimer Analysis,
Gil Scott-Heron & Brian Jackson,
ABC,
Jesper Dahlbäck,
Sad Lovers and Giants,
The Raincoats,
June of 44,
Dave Gahan,
Man Parrish,
Sam Rivers,
Big Daddy Kane,
Royal Trux,
Scrapy,
Boredoms,
One Last Wish,
Los Fastidios,
Lebanon Hanover,
Underground Resistance,
Marc Romboy vs. Booka Shade, Marc Romboy vs. Booka Shade, Marc Romboy vs. Booka Shade, Marc Romboy vs. Booka Shade.
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.