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 Croatia and from Paris.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Tehran and Manchester.
I'm losing my edge to the art-school Lyon 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the linndrum sounds with much patience.
I was there when Robert Palmer 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 Black Moon to the disco kids.
I played it at the Spitz.
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 Public Image Ltd.. All the underground hits.
All The Gap Band tracks. I heard you have a vinyl of every Stetsasonic 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 '70s cut and another box set from the '70s.
I hear you're buying a clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott Heron record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Electric Light Orchestra,
Schoolly D,
Pantaleimon,
Neil Young & Crazy Horse,
Joyce Sims,
PIL,
Rites of Spring,
Hoover,
Sound Behaviour,
Glambeats Corp.,
Scratch Acid,
Orchestral Manoeuvres in the Dark,
Suburban Knight,
D'Angelo,
Deadbeat,
Jesper Dahlbäck,
Patti Smith,
Kayak,
Trumans Water,
Newcleus,
Big Daddy Kane,
Rosa Yemen,
Black Sheep,
Surgeon,
EPMD,
Simply Red,
Supertramp,
Guru Guru,
Scott Walker + Sunn O))),
Lungfish,
Selector Dub Narcotic,
Adolescents,
Lou Christie,
Camberwell Now,
Junior Murvin,
Jesper Dahlback,
Crispy Ambulance,
The Fortunes,
Thompson Twins,
Man Parrish,
Althea and Donna,
The Cure,
La Düsseldorf,
Metal Thangz,
Oppenheimer Analysis,
JFA,
Aaron Thompson,
Manfred Mann's Earth Band,
Fugazi,
The Electric Prunes,
John Holt,
Scott Walker,
The Fall,
Lebanon Hanover,
Marine Girls,
Technova,
Brand Nubian,
Pharoah Sanders,
Tropical Tobacco,
48th St. Collective,
Cheater Slicks,
Gang Gang Dance, Gang Gang Dance, Gang Gang Dance, Gang Gang Dance.
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.