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 Guyana and from Mexico City.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1979.
I'm losing my edge.
To all the kids in Stockholm and Spokane.
I'm losing my edge to the art-school London 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 harpsichord 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 Yaz to the dance 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 Country Joe & The Fish. All the underground hits.
All Gang Green tracks. I heard you have a vinyl of every The Flesh Eaters record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Skriet record.
I hear that you and your band have sold your marimba and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Warsaw,
The Music Machine,
Gian Franco Pienzio,
Red Lorry Yellow Lorry,
John Lydon,
Jimmy McGriff,
Ajijia Myrayebe,
The Motions,
Alton Ellis,
Deakin,
FM Einheit,
The Royal Family And The Poor,
Rekid,
Rod Modell,
The Electric Prunes,
Oppenheimer Analysis,
Dead Boys,
Urselle,
Saccharine Trust,
Lebanon Hanover,
Motorama,
Black Bananas,
The Shadows of Knight,
Drexciya,
Bluetip,
Gang Green,
Audionom,
Moby Grape,
Zapp,
The Flesh Eaters,
The Gap Band,
kango's stein massive,
Kas Product,
Jacob Miller,
Soft Cell,
Franke,
Negative Approach,
In Retrospect,
Make Up,
The Busters,
Popol Vuh,
Angels of Light & Akron/Family,
Al Stewart,
Soft Machine,
Dark Day,
De La Soul & Jungle Brothers,
Excepter,
Bush Tetras,
Television,
Wire,
Main Source,
Animal Collective,
Peter Gordon & Love of Life Orchestra,
Chris Corsano,
Donald Byrd,
Fear,
Eden Ahbez,
Godley & Creme,
Clear Light,
Bang On A Can,
Minutemen,
Ronnie Foster,
The Tremeloes,
Nils Olav, Nils Olav, Nils Olav, Nils Olav.
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.