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 Lithuania and from New York.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Stockholm and Halifax.
I'm losing my edge to the art-school Sao Paulo 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 guitar 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 Sexual Harrassment to the grime kids.
I played it at CBGB's.
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 Skaos. All the underground hits.
All the Soft Cell tracks. I heard you have a vinyl of every Sound Behaviour record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an oboe and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The New Christs record.
I hear that you and your band have sold your rhodes and bought a sitar.
I hear that you and your band have sold your sitar and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minnie Riperton,
Q65,
The Alarm Clocks,
Aaron Thompson,
Albert Ayler,
Cluster,
Strawberry Alarm Clock,
Terry Callier,
Funky Four + One,
Traffic Nightmare,
Saccharine Trust,
The Red Krayola,
The Mojo Men,
Monks,
Cymande,
Khruangbin,
Negative Approach,
Circle Jerks,
Ken Boothe,
Mary Jane Girls,
Colin Newman,
Lyres,
Nas,
Severed Heads,
Organ,
Bauhaus,
Amon Düül,
Basic Channel,
The Pretty Things,
Q and Not U,
Neu!,
Joey Negro,
Pylon,
Pharaoh Sanders and the Fire Engines,
Flamin' Groovies,
La Düsseldorf,
Rhythm & Sound,
Pussy Galore,
Black Bananas,
Ultravox,
The Monochrome Set,
Rowland S Howard / Lydia Lunch,
Fatback Band,
A Flock of Seagulls,
Ajijia Myrayebe,
Blake Baxter,
The Standells,
Accadde A,
Loose Ends,
Jeff Mills,
Cecil Taylor,
The J.B.'s,
Kango’s Stein Massive,
Icehouse,
Vainqueur,
Technova,
DeepChord presents Echospace,
Fifty Foot Hose,
Red Lorry Yellow Lorry,
Siouxsie and the Banshees,
The Doobie Brothers,
Johnny Osbourne,
Darondo, Darondo, Darondo, Darondo.
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.