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 Turkey and from Glasgow.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1975.
I'm losing my edge.
To all the kids in Tokyo and Salvador.
I'm losing my edge to the art-school Columbus 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 marimba 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 Amon Düül to the techno kids.
I played it at the Spitz.
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 Vladislav Delay. All the underground hits.
All The Misunderstood tracks. I heard you have a vinyl of every Babytalk record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a güiro and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Sight & Sound record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ornette Coleman,
Josef K,
Zapp,
Absolute Body Control,
DNA,
Gian Franco Pienzio,
The Remains,
Nirvana,
A Certain Ratio,
Slick Rick,
Sun City Girls,
Nick Fraelich,
Livin' Joy,
Dead Boys,
48th St. Collective,
Angry Samoans,
The Fire Engines,
Art Ensemble Of Chicago,
Chris Corsano,
Camouflage,
Dennis Brown,
Radio Birdman,
Audionom,
The American Breed,
The Jesus and Mary Chain,
Little Man,
Matthew Bourne,
The Residents,
The Peanut Butter Conspiracy,
Scion,
This Heat,
Loose Ends,
Fat Boys,
Theoretical Girls,
Lafayette Afro Rock Band,
Avey Tare's Slasher Flicks,
Alton Ellis,
Newcleus,
Aaron Thompson,
Pere Ubu,
Lindisfarne,
Scan 7,
the Normal,
Gong,
Kas Product,
Echo & the Bunnymen,
Metal Thangz,
Mary Jane Girls,
Strawberry Alarm Clock,
Cal Tjader,
Marcia Griffiths,
Todd Rundgren,
Anthony Braxton,
Johnny Clarke,
Janne Schatter,
Au Pairs,
Darondo,
Cecil Taylor,
Severed Heads,
Pussy Galore,
Crime,
Heavy D & The Boyz, Heavy D & The Boyz, Heavy D & The Boyz, Heavy D & The Boyz.
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.