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 Oman and from Manila.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Lyon and Paris.
I'm losing my edge to the art-school Portland 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the linndrum 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 The Cosmic Jokers to the rap kids.
I played it at the 40 Watt.
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 Lonnie Liston Smith. All the underground hits.
All Ronan tracks. I heard you have a vinyl of every Roy Ayers 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 '60s cut and another box set from the '80s.
I hear you're buying a theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Seeds record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Susan Cadogan,
The Slackers,
Sandy B,
Joe Finger,
Das Ding,
Gil Scott Heron,
The Moody Blues,
Fugazi,
Louis and Bebe Barron,
Peter & Gordon,
Main Source,
Albert Ayler,
Amon Düül II,
Zapp,
Siouxsie and the Banshees,
JFA,
Byron Stingily,
Heavy D & The Boyz,
Rhythim Is Rhythim,
The Walker Brothers,
Ronnie Foster,
The Victims,
Jesper Dahlbäck,
MDC,
Sister Nancy,
Juan Atkins,
The Cure,
Oblivians,
Joy Division,
Bronski Beat,
Gian Franco Pienzio,
Supertramp,
Technova,
Sly & The Family Stone,
Dead Boys,
Strawberry Alarm Clock,
Bad Manners,
Procol Harum,
Eli Mardock,
Roger Hodgson,
Brick,
Cameo,
Gastr Del Sol,
Ronan,
kango's stein massive,
The United States of America,
X-102,
Interpol,
T. Rex,
John Cale,
Larry & the Blue Notes,
Amon Düül,
Thinking Fellers Union Local 282,
Newcleus,
Sad Lovers and Giants,
The Slits,
Brand Nubian,
Electric Prunes,
Rod Modell,
Ornette Coleman,
Terrestrial Tones,
Nirvana, Nirvana, Nirvana, Nirvana.
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.