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 Qatar and from Sao Paulo.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Tehran and Shanghai.
I'm losing my edge to the art-school Lyon 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the theremin 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 Tres Demented to the crunk kids.
I played it at Trash.
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 Tomorrow. All the underground hits.
All Cabaret Voltaire tracks. I heard you have a vinyl of every Quantec 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 '80s.
I hear you're buying a 808 and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a ABBA record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Monolake,
Amon Düül II,
Babytalk,
Oppenheimer Analysis,
June of 44,
Eric Copeland,
Lakeside,
Ten City,
Visage,
The Divine Comedy,
Eddi Front,
Kurtis Blow,
Heavy D & The Boyz,
Eve St. Jones,
The Pretty Things,
The Happenings,
Black Bananas,
Q and Not U,
The Blues Magoos,
The Gladiators,
Sonic Youth,
The Doobie Brothers,
Gil Scott-Heron & Brian Jackson,
Stockholm Monsters,
Godley & Creme,
Stereo Dub,
Colin Newman,
Chris & Cosey,
Neu!,
London Community Gospel Choir,
Lightning Bolt,
The Mighty Diamonds,
The Electric Prunes,
Peter and Kerry,
Gil Scott-Heron and Jamie xx,
Fad Gadget,
Skriet,
Infiniti,
Magazine,
Khruangbin,
Tomorrow,
The Gories,
Art Ensemble Of Chicago,
It's A Beautiful Day,
Sun Ra Arkestra,
Ornette Coleman,
Steve Hackett,
Thinking Fellers Union Local 282,
Groovy Waters,
The Doors,
Avey Tare,
La Düsseldorf,
Section 25,
Visionaries,LMNO, T- Love & Iriscience,
Buzzcocks,
Drive Like Jehu,
Eyeless In Gaza,
The Gun Club,
Robert Wyatt,
Pharoah Sanders,
CMW, CMW, CMW, CMW.
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.