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 Barbados and from Accra.
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 1974.
I'm losing my edge.
To all the kids in Accra and Milan.
I'm losing my edge to the art-school Houston 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the güiro sounds with much patience.
I was there when Captain Beefheart 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 Durutti Column to the techno 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 Lizzy Mercier Descloux. All the underground hits.
All Arthur Verocai tracks. I heard you have a vinyl of every Big Daddy Kane record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an organ and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Oneida record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Prince Buster,
Bobby Byrd,
Oneida,
Pierre Henry,
Bronski Beat,
The Sound,
Moebius,
cv313,
Electric Prunes,
James White and The Blacks,
Public Image Ltd.,
The Walker Brothers,
The Pretty Things,
The Neon Judgement,
Bill Near,
Andrew Ashong & Theo Parrish,
Hot Snakes,
Brass Construction,
Brand Nubian,
June Days,
Absolute Body Control,
Cecil Taylor,
Circle Jerks,
Ultravox,
Jawbox,
Tres Demented,
Sound Behaviour,
Orchestral Manoeuvres in the Dark,
Justin Hinds & The Dominoes,
The Residents,
The Music Machine,
Sister Nancy,
Eric Copeland,
Harmonia,
Jacob Miller,
the Human League,
Sun City Girls,
The Blues Magoos,
Aural Exciters,
Bad Manners,
June of 44,
Rod Modell,
The Kinks,
The Names,
Kango’s Stein Massive,
Warren Ellis,
Altered Images,
Magazine,
Maleditus Sound,
OOIOO,
K-Klass,
The Modern Lovers,
Symarip,
Flash Fearless,
Quadrant,
Freddie Wadling,
Stetsasonic,
Gary Puckett & The Union Gap,
Guru Guru,
Fort Wilson Riot,
Isaac Hayes,
Country Teasers, Country Teasers, Country Teasers, Country Teasers.
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.