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 Portugal and from Copenhagen.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1979.
I'm losing my edge.
To all the kids in Johannesburg and Lille.
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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the organ 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 Anakelly to the dance kids.
I played it at the Roxy.
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 Cabaret Voltaire. All the underground hits.
All Interpol tracks. I heard you have a vinyl of every Liliput record on German import.
I heard that you have a white label of every seminal techno 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 spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Siglo XX record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ralphi Rosario,
Barry Ungar,
Terrestrial Tones,
The Dead C,
Eric Dolphy,
June of 44,
Sound Behaviour,
The Angels of Light,
Radiopuhelimet,
Infiniti,
Smog,
Orchestral Manoeuvres in the Dark,
The Fortunes,
The Sisters of Mercy,
Stiv Bators,
Mandrill,
Flamin' Groovies,
cv313,
Ultra Naté,
Roy Ayers,
Robert Wyatt,
Los Fastidios,
Supertramp,
Dennis Brown,
The Walker Brothers,
Derrick Morgan,
Al Stewart,
The Cosmic Jokers,
Newcleus,
Chris Corsano,
The New Christs,
Carl Craig,
Neil Young,
Eve St. Jones,
Grandmaster Flash,
Deutsch Amerikanische Freundschaft,
Thee Headcoats,
Crispy Ambulance,
The American Breed,
The Sonics,
Cluster,
Josef K,
World's Most,
Moebius,
Alison Limerick,
Y Pants,
Groovy Waters,
Nik Kershaw,
Blancmange,
Negative Approach,
Sam Rivers,
Unrelated Segments,
Marshall Jefferson,
The Happenings,
ABBA,
Jawbox,
The Monks,
Lucky Dragons,
Fela Kuti,
Steve Hackett,
Donald Byrd,
Pylon, Pylon, Pylon, Pylon.
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.