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 Lagos.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in 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 1966 to 1972.
I'm losing my edge.
To all the kids in Manila and Madrid.
I'm losing my edge to the art-school Edmonton 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 chamberlin 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 The Gap Band to the punk kids.
I played it at the Hacienda.
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 Magazine. All the underground hits.
All ABC tracks. I heard you have a vinyl of every Jandek 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 '70s cut and another box set from the '70s.
I hear you're buying a snare and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Jacob Miller record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flamin' Groovies,
Model 500,
Amon Düül II,
Ultimate Spinach,
Bootsy's Rubber Band,
the Soft Cell,
The Dead C,
Franke,
Schoolly D,
X-Ray Spex,
Orchestral Manoeuvres in the Dark,
Simply Red,
Arthur Verocai,
Index,
The Slits,
Little Man,
Saccharine Trust,
T.S.O.L.,
Brick,
The Smiths,
The Saints,
Hashim,
Eli Mardock,
Hoover,
Johnny Osbourne,
The Leaves,
The Doobie Brothers,
Bobby Hutcherson,
Gang Gang Dance,
Lower 48,
John Cale,
Thinking Fellers Union Local 282,
Khruangbin,
Dual Sessions,
The Doors,
Ornette Coleman,
Procol Harum,
Ronan,
Das Ding,
Jandek,
Strawberry Alarm Clock,
Rufus Thomas,
Heavy D & The Boyz,
Andrew Hill,
JFA,
Kayak,
the Bar-Kays,
Kango’s Stein Massive,
The Monks,
Drive Like Jehu,
Eddi Front,
Chrome,
The Modern Lovers,
Roxy Music,
Supertramp,
Tim Buckley,
Avey Tare,
Beasts of Bourbon,
Soft Cell,
the Slits,
Sad Lovers and Giants,
The Cosmic Jokers,
The Stooges, The Stooges, The Stooges, The Stooges.
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.