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 Philippines and from Spokane.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Calgary and Copenhagen.
I'm losing my edge to the art-school Manila 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 harpsichord 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 Althea and Donna to the grime kids.
I played it at the Crocodile.
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 Cameo. All the underground hits.
All Cluster tracks. I heard you have a vinyl of every Eric Copeland record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Country Teasers record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Niagra,
Derrick May,
Saccharine Trust,
X-Ray Spex,
Q and Not U,
Mantronix,
Gang Starr,
Banda Bassotti,
Sun City Girls,
Kayak,
Deutsch Amerikanische Freundschaft,
Deakin,
The Red Krayola,
The Pop Group,
Barry Ungar,
The Toasters,
The Flesh Eaters,
Pantytec,
Jimmy McGriff,
Camberwell Now,
Crispian St. Peters,
Roxy Music,
Peter and Kerry,
Richard Hell and the Voidoids,
Nik Kershaw,
Trumans Water,
The Men They Couldn't Hang,
Tears for Fears,
Blossom Toes,
Marmalade,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Boz Scaggs,
Crispy Ambulance,
Tom Boy,
Stereo Dub,
Lakeside,
Lonnie Liston Smith,
Buzzcocks,
The Offenders,
The Wake,
The Moleskins,
Eli Mardock,
Negative Approach,
Wire,
Marc Almond,
Black Flag,
Soul Sonic Force,
K-Klass,
Anakelly,
Soul II Soul,
Cal Tjader,
Archie Shepp,
Bob Dylan,
Gerry Rafferty,
Bobby Hutcherson,
Excepter,
Nirvana,
Harry Pussy,
Deepchord,
Angry Samoans,
Altered Images,
Strawberry Alarm Clock,
Stiv Bators, Stiv Bators, Stiv Bators, Stiv Bators.
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.