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 Venezuela and from London.
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 London and Seoul.
I'm losing my edge to the art-school Lille 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the mellotron 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 Electric Prunes to the jazz kids.
I played it at Cafe Wha.
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 Circle Jerks. All the underground hits.
All Mars tracks. I heard you have a vinyl of every Laurel Aitken record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a marimba and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Arthur Verocai record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ponytail,
Gong,
Amon Düül II,
MDC,
The Birthday Party,
Black Pus,
The Dead C,
Mission of Burma,
Max Romeo,
Dorothy Ashby,
Stockholm Monsters,
The West Coast Pop Art Experimental Band,
Ten City,
The Sisters of Mercy,
Wighnomy Brothers & Robag Wruhme,
L. Decosne,
The Skatalites,
Robert Görl,
Byron Stingily,
Mars,
CMW,
Rapeman,
These Immortal Souls,
Chrome,
Dead Boys,
Terry Callier,
Negative Approach,
Amazonics,
The Wake,
Dual Sessions,
Organ,
Boredoms,
Arab on Radar,
Echo & the Bunnymen,
Magma,
Curtis Mayfield,
Bobby Hutcherson,
Fad Gadget,
Strawberry Alarm Clock,
Sound Behaviour,
Sunsets and Hearts,
Barrington Levy,
Pagans,
Kevin Saunderson,
Cameo,
Deutsch Amerikanische Freundschaft,
Tomorrow,
The Associates,
Ornette Coleman,
June of 44,
Thompson Twins,
The Angels of Light,
Lower 48,
Neil Young,
Audionom,
a-ha,
the Bar-Kays,
F. McDonald,
The Happenings,
Glenn Branca,
Alice Coltrane, Alice Coltrane, Alice Coltrane, Alice 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.