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 Korea South and from Manchester.
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 1976.
I'm losing my edge.
To all the kids in Hong Kong and Salvador.
I'm losing my edge to the art-school Salvador 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the mellotron 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 Little Man to the rap 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 Barry Ungar. All the underground hits.
All Quantec tracks. I heard you have a vinyl of every John Holt 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 '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Drexciya record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scratch Acid,
Barclay James Harvest,
Gil Scott-Heron and Jamie xx,
Lee Hazlewood,
the Swans,
Jandek,
the Human League,
Pole,
Camouflage,
Visionaries,LMNO, T- Love & Iriscience,
Grey Daturas,
The Stooges,
Bush Tetras,
Pharoah Sanders,
Pharaoh Sanders and the Fire Engines,
Flash Fearless,
Moebius,
The Sisters of Mercy,
Tommy Roe,
The Music Machine,
Sugar Minott,
Spoonie Gee,
Metal Thangz,
U.S. Maple,
Faraquet,
cv313,
The Golliwogs,
Brothers Johnson,
The Doobie Brothers,
a-ha,
The Cowsills,
Nation of Ulysses,
Michelle Simonal,
Warsaw,
Model 500,
Letta Mbulu,
Subhumans,
The Cure,
The Peanut Butter Conspiracy,
Dawn Penn,
Lebanon Hanover,
Symarip,
EPMD,
Bobby Sherman,
Roy Ayers Ubiquity,
Marvin Gaye,
David McCallum,
Siouxsie and the Banshees,
Vainqueur,
Harpers Bizarre,
The Fire Engines,
Pulsallama,
Junior Murvin,
Josef K,
The Star Department,
Smog,
Gerry Rafferty,
Rhythim Is Rhythim,
Anakelly,
Ohio Players,
Johnny Osbourne,
Jawbox,
The Red Krayola,
The Names,
Roxette, Roxette, Roxette, Roxette.
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.