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 Jamaica and from Woodstock.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1967 to 1972.
I'm losing my edge.
To all the kids in Woodstock and Accra.
I'm losing my edge to the art-school Seoul 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 mellotron sounds with much patience.
I was there when Tom Verlaine 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 Electric Prunes to the rap kids.
I played it at the Astoria.
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 Mark Hollis. All the underground hits.
All Interpol tracks. I heard you have a vinyl of every Buzzcocks record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Associates record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pere Ubu,
Lee Hazlewood,
The Dave Clark Five,
The Evens,
June of 44,
Panda Bear,
Camberwell Now,
K-Klass,
Deadbeat,
Massinfluence,
Hardrive,
The Busters,
The Litter,
Chris & Cosey,
Godley & Creme,
Urselle,
Ten City,
Donny Hathaway,
Harpers Bizarre,
Roy Ayers Ubiquity,
Don Cherry,
Amon Düül II,
Babytalk,
ABC,
Gichy Dan,
Ultravox,
Ponytail,
Youth Brigade,
Kool G Rap & DJ Polo,
The Mighty Diamonds,
Can,
Audionom,
Index,
Danielle Patucci,
Ossler,
Brass Construction,
Darondo,
Byron Stingily,
The Shadows of Knight,
Letta Mbulu,
Fat Boys,
Piero Umiliani,
Mission of Burma,
Glenn Branca,
Selector Dub Narcotic,
The Cramps,
Warsaw,
Röyhkä ja Rättö ja Lehtisalo,
Suburban Knight,
Accadde A,
Beasts of Bourbon,
Strawberry Alarm Clock,
Arthur Verocai,
Josef K,
Bizarre Inc.,
Lightning Bolt,
The Divine Comedy,
Drive Like Jehu,
Minnie Riperton,
Barclay James Harvest,
Rhythm & Sound, Rhythm & Sound, Rhythm & Sound, Rhythm & Sound.
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.