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 Croatia and from Bologna.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Jakarta and Paris.
I'm losing my edge to the art-school Tokyo 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 sitar 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 Supertramp to the disco 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 Wake. All the underground hits.
All Japan tracks. I heard you have a vinyl of every Eve St. Jones record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a snare and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Franke record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Unwound,
Girls At Our Best!,
Television,
The New Christs,
The Star Department,
Gabor Szabo,
Bobby Sherman,
Dark Day,
Leonard Cohen,
Los Fastidios,
Bootsy's Rubber Band,
Avey Tare & Kría Brekkan,
Rekid,
Goldenarms,
Monks,
Graham Central Station,
Gang Green,
Lafayette Afro Rock Band,
The Gap Band,
Camouflage,
Royal Trux,
the Human League,
Electric Light Orchestra,
The Knickerbockers,
Index,
The Move,
The Monochrome Set,
The Mighty Diamonds,
The Dead C,
Jeff Mills,
Bill Near,
Gastr Del Sol,
The Walker Brothers,
Soulsonic Force,
Lou Reed & John Cale,
Drexciya,
Wasted Youth,
Todd Rundgren,
The Last Poets,
Fear,
Ossler,
Black Moon,
MDC,
JFA,
Darondo,
Flamin' Groovies,
Kurtis Blow,
Desert Stars,
Jacob Miller,
Charles Mingus,
Bush Tetras,
Altered Images,
Curtis Mayfield,
Teenage Jesus and the Jerks,
Country Teasers,
Fela Kuti,
The Fugs,
One Last Wish,
Sad Lovers and Giants,
Bill Wells, Bill Wells, Bill Wells, Bill Wells.
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.