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 Lesotho and from Bologna.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1973.
I'm losing my edge.
To all the kids in Tokyo and Johannesburg.
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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the linndrum 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 Radiohead to the techno 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 The Peanut Butter Conspiracy. All the underground hits.
All Vladislav Delay tracks. I heard you have a vinyl of every Kayak record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a harpsichord and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Charles Mingus 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?
Kings Of Tomorrow,
Pet Shop Boys,
Vladislav Delay,
Dead Boys,
Archie Shepp,
Man Parrish,
The Seeds,
The Pop Group,
Ken Boothe,
The Associates,
Echospace,
kango's stein massive,
Justin Hinds & The Dominoes,
Essential Logic,
Jesper Dahlback,
Colin Newman,
Terrestrial Tones,
Blossom Toes,
Donny Hathaway,
Interpol,
Ultravox,
Technova,
World's Most,
R.M.O.,
Nas,
Monolake,
Excepter,
Whodini,
The Fortunes,
Eric Dolphy,
Zero Boys,
Aloha Tigers,
the Bar-Kays,
Arcadia,
Deutsch Amerikanische Freundschaft,
Bang on a Can All-Stars,
The Count Five,
Eve St. Jones,
Sandy B,
Roxy Music,
Yaz,
Banda Bassotti,
This Heat,
Silicon Teens,
Das Ding,
Deepchord,
Lindisfarne,
Sun City Girls,
Arab on Radar,
Ornette Coleman,
Hasil Adkins,
Albert Ayler,
X-102,
Laurel Aitken,
Carl Craig,
The Birthday Party,
James Chance & The Contortions,
Grauzone,
Visage,
Alice Coltrane, Alice Coltrane, Alice Coltrane, Alice 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.