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 Gambia and from Edmonton.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Philadelphia and Copenhagen.
I'm losing my edge to the art-school Manchester 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 harpsichord 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 Arcadia to the crunk kids.
I played it at the Hacienda.
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 Ultra Naté. All the underground hits.
All Pylon tracks. I heard you have a vinyl of every Television Personalities record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Das Ding record.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skaos,
Cameo,
Smog,
Deutsch Amerikanische Freundschaft,
Marshall Jefferson,
The Happenings,
Minutemen,
Crash Course in Science,
Andrew Ashong & Theo Parrish,
Matthew Bourne,
Camouflage,
Yellowson,
Lou Reed & John Cale,
Lee Hazlewood,
Section 25,
Anakelly,
In Retrospect,
Siouxsie and the Banshees,
Stiv Bators,
Man Parrish,
Quando Quango,
Supertramp,
Soul Sonic Force,
Visionaries,LMNO, T- Love & Iriscience,
Jeru the Damaja,
Frankie Knuckles,
This Heat,
Spoonie Gee,
The Victims,
The Kinks,
OOIOO,
Fugazi,
Unrelated Segments,
Byron Stingily,
cv313,
Slave,
The Doors,
Yusef Lateef,
Harmonia,
Erasure,
Red Lorry Yellow Lorry,
The Men They Couldn't Hang,
Rakim,
Skriet,
Man Eating Sloth,
Zapp,
David Axelrod,
The Star Department,
Nirvana,
The Fugs,
Jesper Dahlback,
The Gories,
Lyres,
Michelle Simonal,
Deepchord,
Faust,
Rites of Spring,
Oneida,
the Swans,
Sound Behaviour,
Cal Tjader, Cal Tjader, Cal Tjader, Cal Tjader.
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.