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 Malaysia and from Houston.
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 1971.
I'm losing my edge.
To all the kids in Tokyo and Woodstock.
I'm losing my edge to the art-school Lille 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 Big Star practice in a loft in Memphis.
I was working on the clarinet 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 A Certain Ratio to the punk kids.
I played it at the 40 Watt.
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 the Normal. All the underground hits.
All Jacob Miller tracks. I heard you have a vinyl of every The Blues Magoos 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 '70s cut and another box set from the '90s.
I hear you're buying a harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sam Rivers,
Tommy Roe,
the Bar-Kays,
Dawn Penn,
Joey Negro,
Red Lorry Yellow Lorry,
Colin Newman,
Selector Dub Narcotic,
the Sonics,
Country Joe & The Fish,
Dark Day,
Young Marble Giants,
Gerry Rafferty,
Davy DMX,
Rufus Thomas,
Technova,
Eve St. Jones,
The J.B.'s,
Monolake,
Fugazi,
Dual Sessions,
Visage,
Pere Ubu,
Animal Collective,
Agitation Free,
Richard Hell and the Voidoids,
Tom Boy,
Johnny Clarke,
Camberwell Now,
Stockholm Monsters,
Mad Mike,
Boogie Down Productions,
Minutemen,
Flash Fearless,
Bill Wells,
Jesper Dahlbäck,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Scrapy,
Johnny Osbourne,
Aloha Tigers,
CMW,
Pulsallama,
Bang On A Can,
Basic Channel,
Althea and Donna,
Spoonie Gee,
Ultravox,
Gang Starr,
Trumans Water,
Röyhkä ja Rättö ja Lehtisalo,
Gil Scott-Heron & Brian Jackson,
Kango’s Stein Massive,
Howard Jones,
Andrew Ashong & Theo Parrish,
Jerry Gold Smith,
Alton Ellis,
Roxy Music,
Ajijia Myrayebe,
Thee Headcoats,
OOIOO,
Delon & Dalcan, Delon & Dalcan, Delon & Dalcan, Delon & Dalcan.
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.