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 Russia and from Jakarta.
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 1970.
I'm losing my edge.
To all the kids in Seoul and Lagos.
I'm losing my edge to the art-school Johannesburg 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 arpeggiator sounds with much patience.
I was there when Lou Reed 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 Absolute Body Control to the grime kids.
I played it at the Spitz.
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 ABC. All the underground hits.
All JFA tracks. I heard you have a vinyl of every Hasil Adkins record on German import.
I heard that you have a white label of every seminal jazz 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 synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Ponytail record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
MDC,
Marshall Jefferson,
X-102,
the Bar-Kays,
The Neon Judgement,
Mr. Review,
Pole,
Loose Ends,
Arthur Verocai,
The Divine Comedy,
Be Bop Deluxe,
Organ,
Monolake,
Severed Heads,
Ultra Naté,
Jeru the Damaja,
OOIOO,
Sound Behaviour,
Super Lover Cee & Casanova Rud,
The New Christs,
Amon Düül II,
B.T. Express,
Reuben Wilson,
In Retrospect,
Jeff Mills,
Eve St. Jones,
Bauhaus,
Wire,
Johnny Osbourne,
Justin Hinds & The Dominoes,
The Sound,
Minutemen,
Lou Reed & John Cale,
Surgeon,
Big Daddy Kane,
The Stooges,
Massinfluence,
Minny Pops,
The Fortunes,
the Association,
The Grass Roots,
Ash Ra Tempel,
Jandek,
Rotary Connection,
The Smoke,
Gil Scott Heron,
The Skatalites,
Kenny Larkin,
the Swans,
Lalann,
Lebanon Hanover,
Scion,
8 Eyed Spy,
The Gories,
Manfred Mann's Earth Band,
Vladislav Delay,
Sandy B,
Barrington Levy,
Schoolly D,
Sight & Sound,
The Dave Clark Five, The Dave Clark Five, The Dave Clark Five, The Dave Clark Five.
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.