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 Congo and from London.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Lyon and Jakarta.
I'm losing my edge to the art-school Salvador 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 snare sounds with much patience.
I was there when Robert Palmer 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 Pole to the jazz kids.
I played it at the 40 Watt.
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 Crispy Ambulance. All the underground hits.
All Rhythm & Sound tracks. I heard you have a vinyl of every The Fortunes record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a 808 and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Bush Tetras record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eddi Front,
Lebanon Hanover,
Robert Hood,
These Immortal Souls,
John Foxx,
The Smiths,
Max Romeo,
Avey Tare,
the Fania All-Stars,
Underground Resistance,
The Sonics,
Severed Heads,
Crispy Ambulance,
The Monks,
K-Klass,
DJ Style,
Arab on Radar,
Vainqueur,
D'Angelo,
Sandy B,
The Birthday Party,
The Real Kids,
Idris Muhammad,
a-ha,
Rowland S Howard / Lydia Lunch,
Be Bop Deluxe,
Bad Manners,
Silicon Teens,
Quantec,
The Chocolate Watch Band,
The Skatalites,
Crispian St. Peters,
The Selecter,
The Five Americans,
Television,
Saccharine Trust,
Agent Orange,
Gang Starr,
Pere Ubu,
Pierre Henry,
Audionom,
T. Rex,
Lizzy Mercier Descloux,
Black Bananas,
Brothers Johnson,
Derrick May,
The Neon Judgement,
Organ,
The Jesus and Mary Chain,
Crooked Eye,
cv313,
The Victims,
The Kinks,
Ultra Naté,
The Motions,
Tommy Roe,
10cc,
Roxette,
The Detroit Cobras, The Detroit Cobras, The Detroit Cobras, The Detroit Cobras.
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.