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 Macedonia and from Stockholm.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Houston and Bremen.
I'm losing my edge to the art-school Bremen 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 güiro 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 Crash Course in Science to the techno kids.
I played it at the Hacienda.
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 Zeros. All the underground hits.
All Kas Product tracks. I heard you have a vinyl of every Moss Icon 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 '70s cut and another box set from the '90s.
I hear you're buying a 808 and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Television record.
I hear that you and your band have sold your sitar and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Modern Lovers,
Robert Görl,
Dorothy Ashby,
Unrelated Segments,
Silicon Teens,
Archie Shepp,
Swell Maps,
Chris & Cosey,
Rosa Yemen,
Scientists,
Bronski Beat,
The Dave Clark Five,
Andrew Ashong & Theo Parrish,
Nik Kershaw,
Joyce Sims,
Surgeon,
Roger Hodgson,
Half Japanese,
Warren Ellis,
The Fortunes,
Livin' Joy,
The Royal Family And The Poor,
The Motions,
Loose Ends,
The Seeds,
Radio Birdman,
Matthew Bourne,
Warsaw,
Kings Of Tomorrow,
Oblivians,
Hoover,
Electric Prunes,
Depeche Mode,
The Electric Prunes,
The Blues Magoos,
Wasted Youth,
Pierre Henry,
CMW,
The Angels of Light,
Johnny Clarke,
Crime,
John Coltrane,
Sarah Menescal,
Make Up,
Lizzy Mercier Descloux,
Oppenheimer Analysis,
Stetsasonic,
Gerry Rafferty,
Gabor Szabo,
Blake Baxter,
Nils Olav,
Thinking Fellers Union Local 282,
Crispy Ambulance,
Accadde A,
Rhythim Is Rhythim,
Danielle Patucci,
Isaac Hayes,
Aloha Tigers,
Glambeats Corp.,
Public Image Ltd.,
The Victims, The Victims, The Victims, The Victims.
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.