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 Cameroon 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 1967 to 1975.
I'm losing my edge.
To all the kids in Copenhagen and Tokyo.
I'm losing my edge to the art-school Jakarta 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the linndrum sounds with much patience.
I was there when Lou Reed 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 Stereo Dub to the grunge kids.
I played it at the Astoria.
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 Pylon. All the underground hits.
All Pet Shop Boys tracks. I heard you have a vinyl of every Godley & Creme record on German import.
I heard that you have a white label of every seminal electroclash 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 sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Average White Band record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Q65,
The Vogues,
Guru Guru,
48th St. Collective,
Bootsy Collins,
Piero Umiliani,
Fluxion,
Moebius,
H. Thieme,
Amon Düül,
Blossom Toes,
A Certain Ratio,
Bang on a Can All-Stars,
OOIOO,
Japan,
Al Stewart,
Todd Rundgren,
Silicon Teens,
Art Ensemble Of Chicago,
Throbbing Gristle,
The Fortunes,
Pantytec,
Freddie Wadling,
The Men They Couldn't Hang,
Lonnie Liston Smith,
Byron Stingily,
Rod Modell,
Mary Jane Girls,
Oblivians,
The Grass Roots,
Black Pus,
Connie Case,
China Crisis,
Janne Schatter,
Harry Pussy,
Public Enemy,
Teenage Jesus and the Jerks,
Johnny Clarke,
Deepchord,
Joyce Sims,
Bluetip,
Aloha Tigers,
Kool G Rap & DJ Polo,
Cymande,
The Buckinghams,
Fugazi,
Maurizio,
Lyres,
Scrapy,
Unrelated Segments,
The Fall,
Matthew Bourne,
Lungfish,
Sixth Finger,
The Cosmic Jokers,
Glambeats Corp.,
AZ,
Vaughan Mason & Crew,
The American Breed,
La Düsseldorf,
Heavy D & The Boyz,
Lou Christie,
Jeff Lynne,
June Days,
John Coltrane, John Coltrane, John Coltrane, John Coltrane.
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.