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 St Lucia and from Sao Paulo.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Manchester and Salvador.
I'm losing my edge to the art-school Hong Kong 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 mellotron sounds with much patience.
I was there when David Bowie 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 Audionom to the electroclash kids.
I played it at CBGB's.
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 Kayak. All the underground hits.
All Aural Exciters tracks. I heard you have a vinyl of every Masters at Work record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a harpsichord and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Eden Ahbez record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Christie,
Laurel Aitken,
The Modern Lovers,
Siglo XX,
Thompson Twins,
L. Decosne,
Erasure,
Rites of Spring,
E-Dancer,
Aaron Thompson,
Peter & Gordon,
The Neon Judgement,
Amon Düül II,
Lebanon Hanover,
Pussy Galore,
Man Parrish,
The Fall,
Niagra,
Livin' Joy,
Echospace,
The Moleskins,
Marcia Griffiths,
Stockholm Monsters,
Cecil Taylor,
Darondo,
Dr. Dre and Snoop Doggy Dog,
Joe Finger,
Ronan,
Prince Buster,
The Gun Club,
Blake Baxter,
Leonard Cohen,
Television Personalities,
Sparks,
Ultra Naté,
Echo & the Bunnymen,
Half Japanese,
Excepter,
Zapp,
Theoretical Girls,
Davy DMX,
Jesper Dahlbäck,
Rosa Yemen,
KRS-One,
Patti Smith,
Bauhaus,
Hasil Adkins,
Arcadia,
The Gladiators,
The Smoke,
The Wake,
The J.B.'s,
Oppenheimer Analysis,
Derrick May,
Dawn Penn,
Joensuu 1685,
Drexciya,
Scratch Acid,
OOIOO,
Flamin' Groovies,
The Standells,
the Normal,
Sunsets and Hearts,
The Music Machine, The Music Machine, The Music Machine, The Music Machine.
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.