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 Kuwait and from Columbus.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Toronto and Taipei.
I'm losing my edge to the art-school Portland 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the organ 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 The Walker Brothers to the disco 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 Juan Atkins. All the underground hits.
All Jandek tracks. I heard you have a vinyl of every CMW record on German import.
I heard that you have a white label of every seminal grime 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 rhodes and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Supertramp record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lyres,
Grey Daturas,
The Black Dice,
Suicide,
The Dirtbombs,
Arthur Verocai,
Mo-Dettes,
Dark Day,
Sparks,
Banda Bassotti,
Idris Muhammad,
The Birthday Party,
Avey Tare's Slasher Flicks,
Connie Case,
The Moody Blues,
Cal Tjader,
Tres Demented,
Negative Approach,
Urselle,
Fad Gadget,
Lee Hazlewood,
Man Parrish,
Siouxsie and the Banshees,
Todd Terry,
David Axelrod,
Scrapy,
FM Einheit,
Brothers Johnson,
Fugazi,
Alphaville,
The Detroit Cobras,
Intrusion,
The Monks,
This Heat,
Man Eating Sloth,
Aaron Thompson,
Sad Lovers and Giants,
La Düsseldorf,
Albert Ayler,
The Offenders,
Amon Düül,
Rod Modell,
Bad Manners,
Peter Gordon & Love of Life Orchestra,
Terrestrial Tones,
F. McDonald,
Jandek,
Franke,
Buzzcocks,
Rowland S Howard / Lydia Lunch,
The Martian,
Mad Mike,
Sex Pistols,
Alison Limerick,
The Residents,
T.S.O.L.,
Motorama,
Fluxion,
Swell Maps,
Basic Channel,
The Cowsills, The Cowsills, The Cowsills, The Cowsills.
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.