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 Tanzania and from London.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1975.
I'm losing my edge.
To all the kids in Halifax and Shanghai.
I'm losing my edge to the art-school Milan 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 güiro 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 Matthew Bourne to the jazz kids.
I played it at Trash.
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 The Remains. All the underground hits.
All Hoover tracks. I heard you have a vinyl of every Joyce Sims record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an arpeggiator and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marcia Griffiths,
The Fugs,
The United States of America,
Eddi Front,
Thee Headcoats,
Can,
Lonnie Liston Smith,
Second Layer,
Vaughan Mason & Crew,
The Alarm Clocks,
Shuggie Otis,
Scientists,
Ohio Players,
Soul II Soul,
X-Ray Spex,
the Association,
Louis and Bebe Barron,
The Busters,
Kaleidoscope,
Godley & Creme,
Bobby Womack,
Rosa Yemen,
Pharoah Sanders,
X-102,
Nils Olav,
Red Lorry Yellow Lorry,
The Stooges,
Bluetip,
Nation of Ulysses,
The Vogues,
Gil Scott-Heron & Brian Jackson,
Interpol,
Average White Band,
Kurtis Blow,
Wings,
Joey Negro,
The Seeds,
The Dave Clark Five,
Boredoms,
Tom Boy,
Public Image Ltd.,
Minutemen,
Angels of Light & Akron/Family,
Theoretical Girls,
Depeche Mode,
The Slits,
Graham Central Station,
Main Source,
Rufus Thomas,
Sam Rivers,
Throbbing Gristle,
Roxy Music,
Cameo,
Sun City Girls,
Tommy Roe,
Grandmaster Flash and the Furious Five,
Kas Product,
Au Pairs,
Y Pants,
The Fuzztones,
Yazoo,
The Litter,
Country Teasers, Country Teasers, Country Teasers, Country Teasers.
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.