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 Belarus and from Houston.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Hong Kong and Madrid.
I'm losing my edge to the art-school Philadelphia 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 Feelies practice in a loft in Haledon.
I was working on the theremin sounds with much patience.
I was there when Tom Verlaine 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 The Zeros to the electroclash 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 Ken Boothe. All the underground hits.
All Cal Tjader tracks. I heard you have a vinyl of every Terry Callier record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a snare and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Connie Case record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quantec,
Rapeman,
Nico,
Ituana,
The Gap Band,
Nick Fraelich,
Matthew Bourne,
The Count Five,
DJ Style,
Letta Mbulu,
Kaleidoscope,
Warren Ellis,
Isaac Hayes,
Bizarre Inc.,
The Associates,
Althea and Donna,
Sexual Harrassment,
Siglo XX,
Essential Logic,
Man Parrish,
X-Ray Spex,
Half Japanese,
Nik Kershaw,
Ultimate Spinach,
Fad Gadget,
The Cure,
Blake Baxter,
Babytalk,
Mad Mike,
The Fuzztones,
Shuggie Otis,
Roy Ayers,
Gian Franco Pienzio,
Aswad,
Index,
Susan Cadogan,
Lizzy Mercier Descloux,
Juan Atkins,
Louis and Bebe Barron,
Grey Daturas,
the Soft Cell,
Rod Modell,
CMW,
Royal Trux,
The Tremeloes,
Rowland S Howard / Lydia Lunch,
Gong,
the Normal,
Mark Hollis,
Oneida,
Nation of Ulysses,
Oblivians,
Soulsonic Force,
Flash Fearless,
Sun Ra Arkestra,
The American Breed,
The Happenings,
Lyres,
cv313,
The Invisible,
Pharaoh Sanders and the Fire Engines,
Saccharine Trust,
Barbara Tucker,
Deakin, Deakin, Deakin, Deakin.
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.