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 Seychelles and from Delhi.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Winnipeg and Mexico City.
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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the arpeggiator sounds with much patience.
I was there when Tom Verlaine 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 Moss Icon to the rap kids.
I played it at the Hacienda.
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 Lalann. All the underground hits.
All Lizzy Mercier Descloux tracks. I heard you have a vinyl of every Kevin Saunderson record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a clarinet and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Smiths record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fat Boys,
Arcadia,
Rhythim Is Rhythim,
The Toasters,
Skaos,
JFA,
Echo & the Bunnymen,
Mad Mike,
The Names,
The West Coast Pop Art Experimental Band,
Tropical Tobacco,
Ajijia Myrayebe,
Pantaleimon,
The Evens,
Jandek,
Infiniti,
Max Romeo,
The Gun Club,
T.S.O.L.,
The Sisters of Mercy,
The Walker Brothers,
Patti Smith,
DJ Style,
Cal Tjader,
The Fugs,
June Days,
ABBA,
The Doobie Brothers,
Camron Feat. Memphis Bleek And Beenie Seigel,
Byron Stingily,
Grandmaster Flash and the Furious Five,
Joe Finger,
Ken Boothe,
Avey Tare's Slasher Flicks,
Minnie Riperton,
Sandy B,
Pharoah Sanders,
The Smiths,
Johnny Clarke,
Jacob Miller,
Bootsy's Rubber Band,
The Selecter,
Heaven 17,
T. Rex,
Franke,
The Jesus and Mary Chain,
The Vogues,
The Fall,
Khruangbin,
Dr. Dre and Snoop Doggy Dog,
The Angels of Light,
the Sonics,
Quando Quango,
X-101,
Blake Baxter,
Ronnie Foster,
Icehouse,
Unrelated Segments,
Fear,
Derrick May,
Reuben Wilson,
The Index,
The Cowsills,
Delon & Dalcan,
Deepchord, Deepchord, Deepchord, Deepchord.
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.