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 Turkmenistan and from Mumbai.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Toronto and Johannesburg.
I'm losing my edge to the art-school Taipei 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the linndrum sounds with much patience.
I was there when Michael McDonald 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 Maurizio to the dance 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 Stereo Dub. All the underground hits.
All Glenn Branca tracks. I heard you have a vinyl of every the Soft Cell 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 '90s.
I hear you're buying an arpeggiator and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Lou Christie record.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Electric Prunes,
Tropical Tobacco,
The Victims,
Lou Christie,
Outsiders,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Hashim,
Sight & Sound,
Kango’s Stein Massive,
Archie Shepp,
A Flock of Seagulls,
Severed Heads,
Main Source,
Dual Sessions,
The Vogues,
The Mummies,
L. Decosne,
Darondo,
Robert Görl,
Adolescents,
The Detroit Cobras,
Gang Green,
Visionaries,LMNO, T- Love & Iriscience,
The New Christs,
Drexciya,
The Modern Lovers,
Sam Rivers,
Carl Craig,
Robert Hood,
Slave,
Barrington Levy,
Andrew Hill,
Alphaville,
Cheater Slicks,
Minor Threat,
Curtis Mayfield,
Grandmaster Flash,
Angels of Light & Akron/Family,
PIL,
Bootsy Collins,
Gerry Rafferty,
Deutsch Amerikanische Freundschaft,
The Human League,
June Days,
Nirvana,
The Seeds,
Tres Demented,
Sparks,
These Immortal Souls,
48th St. Collective,
Nation of Ulysses,
Pole,
Rekid,
James Chance & The Contortions,
Josef K,
Wally Richardson,
8 Eyed Spy,
Nas,
Mary Jane Girls,
Jandek,
Frankie Knuckles, Frankie Knuckles, Frankie Knuckles, Frankie Knuckles.
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.