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 Slovenia and from Jakarta.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Calgary and Mexico City.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the harpsichord 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 Notorious BIG live in Amsterdam to the rock 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 Oneida. All the underground hits.
All Spoonie Gee tracks. I heard you have a vinyl of every Radiohead record on German import.
I heard that you have a white label of every seminal crunk 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 a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Oppenheimer Analysis record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Seeds,
Crime,
Hot Snakes,
Vainqueur,
John Lydon,
Arcadia,
Be Bop Deluxe,
K-Klass,
Sixth Finger,
Inner City,
Unrelated Segments,
Minnie Riperton,
The Trojans,
Fear,
Angry Samoans,
Roy Ayers Ubiquity,
The Blackbyrds,
Rapeman,
Drexciya,
Adolescents,
Moebius,
Idris Muhammad,
The Slackers,
The Wake,
Alison Limerick,
Aural Exciters,
Bobby Hutcherson,
Stetsasonic,
The Monochrome Set,
Sly & The Family Stone,
The United States of America,
DNA,
Flash Fearless,
Bang On A Can,
The Flesh Eaters,
Basic Channel,
Joyce Sims,
Suburban Knight,
Tommy Roe,
Fat Boys,
Minutemen,
Ponytail,
Popol Vuh,
Louis and Bebe Barron,
Little Man,
The Evens,
Von Mondo,
The Neon Judgement,
Rhythm & Sound,
Leonard Cohen,
Major Organ And The Adding Machine,
The Slits,
Lou Reed & Metallica,
Traffic Nightmare,
Bootsy's Rubber Band,
Deakin,
The Sound,
Infiniti,
Susan Cadogan,
Stockholm Monsters,
Crispian St. Peters,
the Sonics, the Sonics, the Sonics, the Sonics.
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.