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 Romania and from Shanghai.
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 1973.
I'm losing my edge.
To all the kids in Toronto and Copenhagen.
I'm losing my edge to the art-school Columbus 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the harpsichord sounds with much patience.
I was there when David Bowie 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 Laurel Aitken to the grime kids.
I played it at Cafe Wha.
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 Laurel Aitken. All the underground hits.
All Dual Sessions tracks. I heard you have a vinyl of every The Invisible record on German import.
I heard that you have a white label of every seminal dance 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 guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Index 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?
Los Fastidios,
Crispy Ambulance,
Jesper Dahlback,
Selector Dub Narcotic,
Fifty Foot Hose,
Clear Light,
Bob Dylan,
Fluxion,
Cecil Taylor,
Livin' Joy,
The Searchers,
Shoche,
The Sonics,
Janne Schatter,
Scan 7,
Pylon,
Crime,
Skriet,
Siglo XX,
Neil Young,
The Electric Prunes,
June Days,
Max Romeo,
Rowland S Howard / Lydia Lunch,
Quando Quango,
The Real Kids,
Electric Prunes,
Basic Channel,
Flash Fearless,
The Misunderstood,
Eddi Front,
Buzzcocks,
Nils Olav,
Gastr Del Sol,
Organ,
Main Source,
Qualms,
Bill Near,
David Bowie,
Marine Girls,
Sound Behaviour,
Pagans,
Fugazi,
Arthur Verocai,
Groovy Waters,
Mandrill,
Quadrant,
Davy DMX,
Ornette Coleman,
Drive Like Jehu,
Be Bop Deluxe,
Suburban Knight,
ABC,
Crispian St. Peters,
Slave,
The Fugs,
Siouxsie and the Banshees,
Aswad,
Cluster,
The Saints, The Saints, The Saints, The Saints.
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.