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 Serbia and from Tokyo.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Calgary and Toronto.
I'm losing my edge to the art-school Mexico City 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 sitar 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 Idris Muhammad to the grunge kids.
I played it at the 40 Watt.
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 Sun City Girls. All the underground hits.
All Connie Case tracks. I heard you have a vinyl of every Bobby Sherman record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Interpol record.
I hear that you and your band have sold your sitar and bought a snare.
I hear that you and your band have sold your snare and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alison Limerick,
Gil Scott Heron,
The Mighty Diamonds,
T. Rex,
Barry Ungar,
Tres Demented,
Rekid,
Grandmaster Flash,
Arthur Verocai,
Underground Resistance,
Visionaries,LMNO, T- Love & Iriscience,
The Fortunes,
Delta 5,
Babytalk,
Piero Umiliani,
Public Image Ltd.,
Radio Birdman,
Newcleus,
Aloha Tigers,
Captain Beefheart & His Magic Band,
CMW,
Magazine,
Sound Behaviour,
Dorothy Ashby,
The Gap Band,
Motorama,
Pierre Henry,
Circle Jerks,
Henry Cow,
Sam Rivers,
Jawbox,
Junior Murvin,
Dave Gahan,
June of 44,
Khruangbin,
The Shadows of Knight,
The Doobie Brothers,
The Real Kids,
Susan Cadogan,
Infiniti,
Matthew Halsall,
Vladislav Delay,
The Sound,
The Neon Judgement,
This Heat,
The Raincoats,
Das Ding,
R.M.O.,
The Cure,
Roxette,
H. Thieme,
Harpers Bizarre,
The Searchers,
Tim Buckley,
Gian Franco Pienzio,
Animal Collective,
Porter Ricks,
Hardrive,
Sunsets and Hearts,
Andrew Hill,
Monks, Monks, Monks, Monks.
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.