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 Algeria and from Tokyo.
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 1970.
I'm losing my edge.
To all the kids in New York and Jakarta.
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 sitar 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 Godley & Creme to the techno 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 Joyce Sims. All the underground hits.
All Todd Rundgren tracks. I heard you have a vinyl of every Teenage Jesus and the Jerks record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a clarinet and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a the Germs record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arcadia,
Interpol,
Scott Walker,
The Standells,
Lou Reed,
Jandek,
Dead Boys,
Camron Feat. Memphis Bleek And Beenie Seigel,
Eyeless In Gaza,
Todd Terry,
Sunsets and Hearts,
Aloha Tigers,
Amon Düül,
Kango’s Stein Massive,
Shoche,
Donald Byrd,
James White and The Blacks,
Oblivians,
UT,
Matthew Bourne,
Boredoms,
Bauhaus,
The Sisters of Mercy,
Graham Central Station,
The Smoke,
Rod Modell,
Sad Lovers and Giants,
In Retrospect,
Peter & Gordon,
Alton Ellis,
Pylon,
Bill Wells,
Cameo,
Bobby Womack,
The Flesh Eaters,
Bob Dylan,
Duran Duran,
Lou Christie,
Brick,
The Motions,
Brothers Johnson,
The Count Five,
The Index,
Nirvana,
Marshall Jefferson,
Lalo Schifrin,
Stockholm Monsters,
Derrick Morgan,
The Monks,
Outsiders,
Johnny Clarke,
Tom Boy,
Eli Mardock,
Todd Rundgren,
Heavy D & The Boyz,
Nas,
Gichy Dan,
Godley & Creme,
Gabor Szabo,
Michelle Simonal,
The Red Krayola,
Cluster, Cluster, Cluster, Cluster.
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.