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 Chile and from Mumbai.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Lille and Beijing.
I'm losing my edge to the art-school Tehran 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 linndrum sounds with much patience.
I was there when Holger Czukay 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 Pharoah Sanders to the rock kids.
I played it at the Astoria.
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 Sister Nancy. All the underground hits.
All Fugazi tracks. I heard you have a vinyl of every The Pretty Things record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a guitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Joensuu 1685 record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Throbbing Gristle,
Mantronix,
Fifty Foot Hose,
Reuben Wilson,
Juan Atkins,
Sparks,
Scion,
Faraquet,
The Chocolate Watch Band,
U.S. Maple,
Camberwell Now,
The Mummies,
Man Eating Sloth,
Loose Ends,
Qualms,
Danielle Patucci,
Deadbeat,
Funkadelic,
Country Joe & The Fish,
Dark Day,
Rekid,
The Monochrome Set,
Vaughan Mason & Crew,
Lou Reed & John Cale,
Manfred Mann's Earth Band,
Symarip,
The Martian,
The Last Poets,
Eli Mardock,
Selector Dub Narcotic,
Minor Threat,
Public Image Ltd.,
Interpol,
Rites of Spring,
In Retrospect,
John Lydon,
Alton Ellis,
Nils Olav,
Warsaw,
Johnny Osbourne,
Janne Schatter,
Matthew Halsall,
Deutsch Amerikanische Freundschaft,
Black Flag,
Television,
Brass Construction,
Major Organ And The Adding Machine,
Kayak,
Ultra Naté,
The Litter,
Bizarre Inc.,
Barbara Tucker,
Make Up,
Accadde A,
Boredoms,
Urselle,
Vladislav Delay,
Marc Romboy vs. Booka Shade,
D'Angelo,
James Chance & The Contortions,
Nation of Ulysses,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Scott Walker, Scott Walker, Scott Walker, Scott Walker.
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.