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 United States 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 1963 to 1970.
I'm losing my edge.
To all the kids in Stockholm and Hong Kong.
I'm losing my edge to the art-school Toronto 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 Josef K practice in a loft in Edinburgh.
I was working on the marimba sounds with much patience.
I was there when Lou Reed 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 Deadbeat 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 Fort Wilson Riot. All the underground hits.
All Teenage Jesus and the Jerks tracks. I heard you have a vinyl of every Jesper Dahlback record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a sitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Gong record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yaz,
The Standells,
Anthony Braxton,
Notorious BIG live in Amsterdam,
Big Daddy Kane,
Pere Ubu,
Archie Shepp,
Rapeman,
Theoretical Girls,
Tomorrow,
June Days,
The Fuzztones,
Kings Of Tomorrow,
The Detroit Cobras,
Grandmaster Flash and the Furious Five,
DeepChord presents Echospace,
Chris & Cosey,
Cal Tjader,
Notorious Big And Bone Thugs,
Lindisfarne,
Pulsallama,
Nik Kershaw,
The Seeds,
Lou Christie,
The Divine Comedy,
Lalann,
DJ Sneak,
Sixth Finger,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Sonics,
One Last Wish,
Barry Ungar,
The New Christs,
Deakin,
Junior Murvin,
Scott Walker,
LL Cool J,
The Gories,
X-102,
Jerry's Kids,
Eyeless In Gaza,
Siglo XX,
Black Moon,
Roy Ayers,
Justin Hinds & The Dominoes,
Sly & The Family Stone,
Robert Görl,
Letta Mbulu,
The West Coast Pop Art Experimental Band,
The Jesus and Mary Chain,
Eric B and Rakim,
Nils Olav,
Fatback Band,
Khruangbin,
Matthew Halsall,
U.S. Maple,
Wasted Youth,
Flamin' Groovies,
The Mighty Diamonds,
De La Soul & Jungle Brothers,
Quantec,
Tim Buckley,
Ponytail, Ponytail, Ponytail, Ponytail.
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.