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 Malta and from Madrid.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Bologna and Spokane.
I'm losing my edge to the art-school Houston 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the chamberlin 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 Marine Girls to the punk kids.
I played it at Trash.
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 Tom Boy. All the underground hits.
All Barclay James Harvest tracks. I heard you have a vinyl of every Bluetip 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 '60s cut and another box set from the '70s.
I hear you're buying a rhodes and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Gabor Szabo 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?
Harry Pussy,
The Seeds,
Kas Product,
Index,
Stereo Dub,
ABBA,
Crispy Ambulance,
Peter Gordon & Love of Life Orchestra,
Bush Tetras,
Sugar Minott,
Half Japanese,
Marshall Jefferson,
Blake Baxter,
T.S.O.L.,
Zapp,
The Gap Band,
Spoonie Gee,
Captain Beefheart & His Magic Band,
Kings Of Tomorrow,
Matthew Halsall,
Roxy Music,
The Neon Judgement,
Anakelly,
Qualms,
World's Most,
Lou Christie,
Gong,
Smog,
Faust,
Strawberry Alarm Clock,
Frankie Knuckles,
The Electric Prunes,
A Flock of Seagulls,
De La Soul & Jungle Brothers,
Throbbing Gristle,
Derrick Morgan,
Magma,
In Retrospect,
Parry Music,
The Mojo Men,
Mad Mike,
Rekid,
Alice Coltrane,
The Tremeloes,
Buzzcocks,
Cabaret Voltaire,
Grey Daturas,
Arthur Verocai,
Deepchord,
Franke,
Sun Ra,
Jandek,
The Index,
Oneida,
Young Marble Giants,
The Last Poets,
The Cosmic Jokers,
Slick Rick,
Swell Maps,
Silicon Teens,
Audionom,
Hashim,
Ash Ra Tempel, Ash Ra Tempel, Ash Ra Tempel, Ash Ra Tempel.
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.