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 Brunei and from Tokyo.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Houston and Sao Paulo.
I'm losing my edge to the art-school Cairo 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the linndrum 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 The Remains to the dance kids.
I played it at Trash.
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 Eyeless In Gaza. All the underground hits.
All Byron Stingily tracks. I heard you have a vinyl of every Swans 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 '60s cut and another box set from the '80s.
I hear you're buying a marimba and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Stooges record.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dead Boys,
L. Decosne,
The Jesus and Mary Chain,
Joe Smooth,
Ken Boothe,
UT,
Graham Central Station,
Banda Bassotti,
Röyhkä ja Rättö ja Lehtisalo,
Robert Wyatt,
Amazonics,
Delta 5,
Zero Boys,
Flipper,
Teenage Jesus and the Jerks,
Cymande,
Chrome,
Scion,
Bobbi Humphrey,
Danielle Patucci,
Stiv Bators,
Hardrive,
Kauko Röyhkä ja Narttu,
Kenny Larkin,
Altered Images,
Terrestrial Tones,
Ultravox,
Liaisons Dangereuses,
Donny Hathaway,
KRS-One,
Minor Threat,
The Fall,
Thinking Fellers Union Local 282,
Au Pairs,
Aswad,
Slick Rick,
The Barracudas,
Frankie Knuckles,
The Walker Brothers,
Junior Murvin,
Stockholm Monsters,
Scrapy,
Tubeway Army,
Marmalade,
Popol Vuh,
Roy Ayers,
The Count Five,
The Mighty Diamonds,
Magazine,
The Pop Group,
Main Source,
Young Marble Giants,
U.S. Maple,
Sällskapet,
Jeff Lynne,
The Black Dice,
Crime,
Lebanon Hanover,
Tomorrow,
Chris & Cosey,
Sandy B,
Silicon Teens,
Archie Shepp,
Stereo Dub,
Rhythim Is Rhythim, Rhythim Is Rhythim, Rhythim Is Rhythim, Rhythim Is Rhythim.
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.