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 Sweden and from Columbus.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Glasgow and Tehran.
I'm losing my edge to the art-school Hong Kong 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the rhodes 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 Althea and Donna to the punk kids.
I played it at Cafe Wha.
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 PIL. All the underground hits.
All Japan tracks. I heard you have a vinyl of every Bang on a Can All-Stars 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 '60s cut and another box set from the '90s.
I hear you're buying a linndrum and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Juan Atkins record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cecil Taylor,
Sandy B,
DeepChord presents Echospace,
Outsiders,
Pylon,
Hoover,
The Fire Engines,
Arthur Verocai,
Scott Walker,
Visionaries,LMNO, T- Love & Iriscience,
Nico,
The Moody Blues,
Newcleus,
Massinfluence,
Yellowson,
Quadrant,
Public Image Ltd.,
Terrestrial Tones,
John Cale,
Amon Düül,
Juan Atkins,
Khruangbin,
Bobbi Humphrey,
Cal Tjader,
Joy Division,
Absolute Body Control,
Pere Ubu,
Black Flag,
Peter Gordon & Love of Life Orchestra,
Camberwell Now,
Silicon Teens,
Jeru the Damaja,
The American Breed,
Jacques Brel,
Gian Franco Pienzio,
Shoche,
Reuben Wilson,
Rhythm & Sound,
Fat Boys,
Rapeman,
Nik Kershaw,
a-ha,
Barclay James Harvest,
Althea and Donna,
Thinking Fellers Union Local 282,
Thee Headcoats,
Minny Pops,
Yazoo,
Arcadia,
The Fortunes,
The Detroit Cobras,
The Wake,
Electric Light Orchestra,
Fad Gadget,
The Royal Family And The Poor,
The Litter,
Pet Shop Boys,
Parry Music,
Tears for Fears,
World's Most,
Joey Negro,
Siglo XX,
Gil Scott-Heron & Brian Jackson,
The Modern Lovers, The Modern Lovers, The Modern Lovers, The Modern Lovers.
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.