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 Pakistan and from Houston.
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 1978.
I'm losing my edge.
To all the kids in Lagos and Taipei.
I'm losing my edge to the art-school Delhi 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the organ sounds with much patience.
I was there when Holger Czukay 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 Japan to the punk 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 Arab on Radar. All the underground hits.
All Radiohead tracks. I heard you have a vinyl of every The Doors 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 '50s cut and another box set from the '80s.
I hear you're buying a guitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Barry Ungar record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed & Metallica,
Lou Reed & John Cale,
Black Flag,
Saccharine Trust,
Lalann,
Second Layer,
Gian Franco Pienzio,
Babytalk,
Dorothy Ashby,
Electric Light Orchestra,
Cluster,
Heavy D & The Boyz,
Jerry's Kids,
The Fortunes,
Mr. Review,
Rufus Thomas,
Whodini,
Matthew Halsall,
The Sonics,
The Flesh Eaters,
Mad Mike,
Goldenarms,
Swans,
Pharaoh Sanders and the Fire Engines,
Bizarre Inc.,
Rhythim Is Rhythim,
Thompson Twins,
Gang Gang Dance,
The Last Poets,
Moss Icon,
Morten Harket,
Patti Smith,
Kool G Rap & DJ Polo,
Model 500,
Duran Duran,
Selector Dub Narcotic,
Minutemen,
Marcia Griffiths,
Circle Jerks,
Minor Threat,
Lindisfarne,
Ken Boothe,
Jeff Lynne,
Tom Boy,
Procol Harum,
Television Personalities,
R.M.O.,
Unrelated Segments,
Index,
Shuggie Otis,
Animal Collective,
Bluetip,
Slick Rick,
Warsaw,
Wasted Youth,
Wire,
Donald Byrd,
Negative Approach,
Malaria!,
John Lydon,
Lizzy Mercier Descloux, Lizzy Mercier Descloux, Lizzy Mercier Descloux, Lizzy Mercier Descloux.
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.