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 Bosnia Herzegovina and from Edmonton.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Lyon and Mumbai.
I'm losing my edge to the art-school Winnipeg 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 guitar 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 Eyeless In Gaza to the crunk 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 Frankie Knuckles. All the underground hits.
All Harpers Bizarre tracks. I heard you have a vinyl of every Dead Boys record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Pretty Things record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
Glambeats Corp.,
Babytalk,
Ralphi Rosario,
Camberwell Now,
The Moody Blues,
Rotary Connection,
Ultravox,
Terry Callier,
Nation of Ulysses,
Delon & Dalcan,
Fort Wilson Riot,
Fad Gadget,
Sister Nancy,
A Certain Ratio,
Ash Ra Tempel,
Make Up,
Mantronix,
Basic Channel,
Ultimate Spinach,
Bronski Beat,
Notorious Big And Bone Thugs,
Minnie Riperton,
Excepter,
Avey Tare's Slasher Flicks,
The Monochrome Set,
The Blackbyrds,
The Slackers,
Reuben Wilson,
The Invisible,
Heavy D & The Boyz,
Dave Gahan,
Drexciya,
Jeff Lynne,
Glenn Branca,
Big Daddy Kane,
Art Ensemble Of Chicago,
The Zeros,
Robert Hood,
Goldenarms,
Lower 48,
The Litter,
Blake Baxter,
Eric Copeland,
MC5,
Circle Jerks,
8 Eyed Spy,
Quantec,
Amon Düül II,
Organ,
Rakim,
The Smiths,
The Index,
Schoolly D,
Infiniti,
Gichy Dan,
Ohio Players,
Robert Wyatt,
Graham Central Station,
Loose Ends,
the Sonics,
John Coltrane, John Coltrane, John Coltrane, John Coltrane.
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.