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 Netherlands and from Copenhagen.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Beijing and Philadelphia.
I'm losing my edge to the art-school Lille 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 sitar 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 The Move to the rock kids.
I played it at the Troubador.
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 Notorious Big And Bone Thugs. All the underground hits.
All Patti Smith tracks. I heard you have a vinyl of every Carl Craig record on German import.
I heard that you have a white label of every seminal disco 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 808 and are throwing your macbook out the window because you want to make something real. You want to make a AZ record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Severed Heads,
John Cale,
Pierre Henry,
Fort Wilson Riot,
Andrew Ashong & Theo Parrish,
D'Angelo,
Average White Band,
The Pretty Things,
Peter and Kerry,
X-101,
It's A Beautiful Day,
Tropical Tobacco,
Rowland S Howard / Lydia Lunch,
Panda Bear,
The Selecter,
The Durutti Column,
The Leaves,
Josef K,
OOIOO,
Popol Vuh,
The Young Rascals,
Stockholm Monsters,
48th St. Collective,
Spandau Ballet,
Cal Tjader,
Gary Puckett & The Union Gap,
Flamin' Groovies,
UT,
Jeff Lynne,
Dawn Penn,
Morten Harket,
ABBA,
The Red Krayola,
Kayak,
Art Ensemble Of Chicago,
Pulsallama,
Sly & The Family Stone,
Los Fastidios,
Surgeon,
The Dave Clark Five,
Brick,
Camouflage,
Althea and Donna,
Radio Birdman,
The Buckinghams,
In Retrospect,
Don Cherry,
Colin Newman,
Kool Moe Dee,
Charles Mingus,
Tomorrow,
Pole,
Scrapy,
Donny Hathaway,
Sugar Minott,
Easy Going,
Warren Ellis,
Sonic Youth,
kango's stein massive,
Liliput,
The Moleskins,
Al Stewart, Al Stewart, Al Stewart, Al Stewart.
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.