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 Thailand and from Toronto.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Lagos 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 1973 at the first Television practice in a loft in New York.
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 Underground Resistance to the grunge kids.
I played it at the Hacienda.
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 Tres Demented. All the underground hits.
All Pulsallama tracks. I heard you have a vinyl of every Bang On A Can record on German import.
I heard that you have a white label of every seminal crunk 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 spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Bad Manners record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fuzztones,
Harmonia,
Newcleus,
Ultramagnetic MC's,
kango's stein massive,
Alison Limerick,
Tim Buckley,
Amon Düül II,
Lower 48,
Half Japanese,
Deepchord,
The Black Dice,
Amon Düül,
Stetsasonic,
Anthony Braxton,
Mad Mike,
Loose Ends,
Dark Day,
Funky Four + One,
The Move,
The Divine Comedy,
Brand Nubian,
Kerri Chandler,
Mission of Burma,
Michelle Simonal,
Lyres,
Marc Almond,
The Angels of Light,
Technova,
The Smoke,
The Doors,
Joe Smooth,
Magazine,
The Pop Group,
Fad Gadget,
Clear Light,
KRS-One,
Sarah Menescal,
The Mojo Men,
Soul Sonic Force,
Rosa Yemen,
Deadbeat,
Liliput,
Rufus Thomas,
Ohio Players,
Crime,
Theoretical Girls,
Drexciya,
Sun City Girls,
Roxy Music,
Hashim,
Surgeon,
Shoche,
The Electric Prunes,
Rapeman,
Barrington Levy,
Nils Olav,
Lakeside,
Pet Shop Boys,
X-102,
Popol Vuh,
Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark.
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.