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 Belgium and from Calgary.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1974.
I'm losing my edge.
To all the kids in Stockholm and New York.
I'm losing my edge to the art-school Beijing 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 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 Brass Construction to the disco kids.
I played it at Cafe Wha.
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 Association. All the underground hits.
All Porter Ricks tracks. I heard you have a vinyl of every Delon & Dalcan 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 an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Saints record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Kinks,
The Angels of Light,
Ash Ra Tempel,
Erasure,
Jacques Brel,
the Bar-Kays,
Scott Walker,
the Swans,
Judy Mowatt,
Cabaret Voltaire,
Rakim,
Henry Cow,
Rekid,
T.S.O.L.,
The Golliwogs,
Kango’s Stein Massive,
Lakeside,
Bronski Beat,
The Fall,
Yaz,
It's A Beautiful Day,
Fluxion,
Flipper,
Boredoms,
Mission of Burma,
Carl Craig,
Popol Vuh,
Nirvana,
Sexual Harrassment,
Shuggie Otis,
Bobby Byrd,
8 Eyed Spy,
Tommy Roe,
Sällskapet,
Johnny Osbourne,
Lyres,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Sound Behaviour,
Stockholm Monsters,
Toni Rubio,
Peter Gordon & Love of Life Orchestra,
Chris & Cosey,
Pere Ubu,
The Dirtbombs,
Saccharine Trust,
Guru Guru,
Visage,
Nico,
The Doors,
Amon Düül II,
Brick,
Gian Franco Pienzio,
Siglo XX,
Brass Construction,
The Associates,
Aural Exciters,
The Durutti Column,
June Days,
Fifty Foot Hose,
Lou Christie,
Echospace,
Yellowson,
Urselle, Urselle, Urselle, Urselle.
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.