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 India and from Lyon.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Tokyo and Lille.
I'm losing my edge to the art-school Shanghai 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the theremin 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 Scrapy to the electroclash kids.
I played it at the Astoria.
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 John Lydon. All the underground hits.
All Brass Construction tracks. I heard you have a vinyl of every Robert Wyatt record on German import.
I heard that you have a white label of every seminal funk 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 clarinet and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Sugar Minott record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Althea and Donna,
Robert Wyatt,
Khruangbin,
Agitation Free,
Basic Channel,
Andrew Hill,
Eric Copeland,
Ultra Naté,
DJ Sneak,
Leonard Cohen,
Marmalade,
Nico,
Marine Girls,
Faraquet,
Fort Wilson Riot,
Country Teasers,
Q65,
Theoretical Girls,
World's Most,
Siouxsie and the Banshees,
Gary Puckett & The Union Gap,
Wire,
Avey Tare,
Camron Feat. Memphis Bleek And Beenie Seigel,
Crispian St. Peters,
Echospace,
The Names,
Reagan Youth,
The Cure,
The Men They Couldn't Hang,
These Immortal Souls,
Terry Callier,
Tommy Roe,
Ohio Players,
Sällskapet,
Sight & Sound,
Justin Hinds & The Dominoes,
The Litter,
Selector Dub Narcotic,
ABC,
Bootsy's Rubber Band,
the Association,
Tim Buckley,
Tom Boy,
Delon & Dalcan,
The J.B.'s,
The Angels of Light,
John Lydon,
MC5,
The Dead C,
Average White Band,
The Searchers,
Eden Ahbez,
The Smoke,
The Fuzztones,
The Slackers,
Circle Jerks,
Bill Wells,
Wings,
Godley & Creme,
Quadrant,
This Heat,
Gong, Gong, Gong, Gong.
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.