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 Norway and from Lille.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Madrid and Halifax.
I'm losing my edge to the art-school Halifax 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the rhodes sounds with much patience.
I was there when Nile Rodgers 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 Kenny Larkin to the electroclash kids.
I played it at CBGB's.
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 Germs. All the underground hits.
All Nik Kershaw tracks. I heard you have a vinyl of every The Black Dice record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a harpsichord and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Standells record.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Negative Approach,
Soul II Soul,
The Alarm Clocks,
Bluetip,
Section 25,
The Victims,
Bob Dylan,
The Cramps,
Lee Hazlewood,
John Holt,
Liaisons Dangereuses,
DJ Style,
Gregory Isaacs,
John Lydon,
48th St. Collective,
The Gap Band,
T. Rex,
Brand Nubian,
Scion,
Juan Atkins,
Gian Franco Pienzio,
PIL,
Crime,
Wire,
Con Funk Shun,
Crispian St. Peters,
Carl Craig,
Amon Düül,
The Associates,
Bush Tetras,
Kool G Rap & DJ Polo,
Pere Ubu,
Glambeats Corp.,
China Crisis,
Pagans,
Porter Ricks,
Bad Manners,
The Vogues,
Blake Baxter,
Throbbing Gristle,
Toni Rubio,
Fear,
Gil Scott Heron,
Quadrant,
The Move,
Marmalade,
Nick Cave & The Bad Seeds,
The Flesh Eaters,
Ultra Naté,
U.S. Maple,
Television Personalities,
Lou Reed & Metallica,
Dawn Penn,
Cymande,
Siglo XX,
Rapeman,
Moebius,
Jeru the Damaja,
Ash Ra Tempel,
Audionom,
Simply Red,
Altered Images,
Bang on a Can All-Stars, Bang on a Can All-Stars, Bang on a Can All-Stars, Bang on a Can All-Stars.
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.