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 Tonga and from Accra.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Lyon and Mexico City.
I'm losing my edge to the art-school Philadelphia 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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the chamberlin 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 The Doors to the jazz kids.
I played it at the Spitz.
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 Ludus. All the underground hits.
All Albert Ayler tracks. I heard you have a vinyl of every Skarface 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 '70s cut and another box set from the '70s.
I hear you're buying a linndrum and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Neu! record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Görl,
This Heat,
Dual Sessions,
U.S. Maple,
Jesper Dahlbäck,
Man Parrish,
The Last Poets,
Alice Coltrane,
Rotary Connection,
The Walker Brothers,
Gary Puckett & The Union Gap,
Danielle Patucci,
The Fuzztones,
Tommy Roe,
Soul II Soul,
Lebanon Hanover,
The Dave Clark Five,
FM Einheit,
Liliput,
The Wake,
Nico,
Gabor Szabo,
Inner City,
Maurizio,
Kenny Larkin,
The Seeds,
UT,
Camberwell Now,
Bang on a Can All-Stars,
Cheater Slicks,
The Flesh Eaters,
Second Layer,
Masters at Work,
ABC,
Aloha Tigers,
Desert Stars,
Todd Terry,
Lower 48,
Blancmange,
Rekid,
Eric B and Rakim,
Radiopuhelimet,
Country Joe & The Fish,
Soft Cell,
Hardrive,
Mary Jane Girls,
Ultra Naté,
The Evens,
Television Personalities,
The Litter,
Spoonie Gee,
Faust,
The Zeros,
the Sonics,
In Retrospect,
Richard Hell and the Voidoids,
Pulsallama,
Unrelated Segments,
Quadrant,
Ituana,
David McCallum, David McCallum, David McCallum, David McCallum.
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.