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 Bangladesh and from Bremen.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Woodstock and Tokyo.
I'm losing my edge to the art-school Stockholm 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 1984 at the first Arcadia practice in a loft in London.
I was working on the spring reverb 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 The Detroit Cobras to the grunge 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 Ultravox. All the underground hits.
All Nirvana tracks. I heard you have a vinyl of every Dennis Brown record on German import.
I heard that you have a white label of every seminal jazz 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 chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Morten Harket record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
cv313,
Chris Corsano,
Jacques Brel,
Excepter,
Susan Cadogan,
Theoretical Girls,
Eve St. Jones,
Malaria!,
Underground Resistance,
Crispian St. Peters,
Marine Girls,
Reagan Youth,
Pharoah Sanders,
Byron Stingily,
Graham Central Station,
Chris & Cosey,
Gary Puckett & The Union Gap,
Lightning Bolt,
48th St. Collective,
Nick Fraelich,
Eden Ahbez,
Ultravox,
10cc,
Bill Near,
Country Joe & The Fish,
Scott Walker,
Suburban Knight,
June of 44,
CMW,
Livin' Joy,
Blancmange,
Alphaville,
Marshall Jefferson,
The Busters,
Bush Tetras,
The Seeds,
Carl Craig,
Index,
Oppenheimer Analysis,
Eyeless In Gaza,
Joey Negro,
Dawn Penn,
Amon Düül II,
The Modern Lovers,
Terrestrial Tones,
K-Klass,
Franke,
Laurel Aitken,
Wasted Youth,
Johnny Clarke,
Kerri Chandler,
Lebanon Hanover,
Tommy Roe,
The Five Americans,
Sparks,
Basic Channel,
Art Ensemble Of Chicago,
Los Fastidios,
Heaven 17,
the Bar-Kays,
Letta Mbulu,
These Immortal Souls,
Deadbeat, Deadbeat, Deadbeat, Deadbeat.
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.