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 Sierra Leone and from Milan.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Woodstock and Accra.
I'm losing my edge to the art-school London 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 1973 at the first Television practice in a loft in New York.
I was working on the snare 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 Byron Stingily to the rap kids.
I played it at the Troubador.
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 Ronan. All the underground hits.
All Junior Murvin tracks. I heard you have a vinyl of every Boz Scaggs 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 '60s cut and another box set from the '90s.
I hear you're buying a güiro and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Seeds record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Henry Cow,
The Techniques,
CMW,
Make Up,
Andrew Ashong & Theo Parrish,
Roxette,
Kool G Rap & DJ Polo,
Swell Maps,
Marc Romboy vs. Booka Shade,
The West Coast Pop Art Experimental Band,
Camron Feat. Memphis Bleek And Beenie Seigel,
Robert Görl,
Stiv Bators,
Shoche,
The Modern Lovers,
Kerri Chandler,
Lee Hazlewood,
Eric Dolphy,
Isaac Hayes,
Black Bananas,
The Five Americans,
Circle Jerks,
The Sound,
Animal Collective,
Red Lorry Yellow Lorry,
The Black Dice,
Kings Of Tomorrow,
Fatback Band,
The Toasters,
The Stooges,
Jawbox,
Wally Richardson,
Ronan,
Röyhkä ja Rättö ja Lehtisalo,
Country Teasers,
Alison Limerick,
Ponytail,
Lou Reed & John Cale,
Warsaw,
Eve St. Jones,
H. Thieme,
Das Ding,
Connie Case,
PIL,
Joey Negro,
In Retrospect,
X-Ray Spex,
Oppenheimer Analysis,
The Evens,
Malaria!,
Leonard Cohen,
Louis and Bebe Barron,
Visionaries,LMNO, T- Love & Iriscience,
Mantronix,
Fugazi,
Danielle Patucci,
Lizzy Mercier Descloux,
The Buckinghams,
It's A Beautiful Day,
Larry & the Blue Notes,
Spandau Ballet,
Jeru the Damaja,
Sex Pistols,
The Litter, The Litter, The Litter, The Litter.
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.