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 Laos and from Lyon.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Madrid and Beijing.
I'm losing my edge to the art-school Portland 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 1979 at the first Second Layer practice in a loft in South London.
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 Saints to the rock kids.
I played it at the Crocodile.
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 Grauzone. All the underground hits.
All Yusef Lateef tracks. I heard you have a vinyl of every Silicon Teens 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 '80s.
I hear you're buying a snare and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a June of 44 record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pulsallama,
Barry Ungar,
Ohio Players,
Eric Dolphy,
Avey Tare's Slasher Flicks,
The West Coast Pop Art Experimental Band,
The Martian,
Los Fastidios,
Rufus Thomas,
Notorious BIG live in Amsterdam,
Dead Boys,
The Human League,
Glambeats Corp.,
Teenage Jesus and the Jerks,
Urselle,
A Flock of Seagulls,
MDC,
Pussy Galore,
Pole,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Vaughan Mason & Crew,
Ice-T,
Liliput,
Dennis Brown,
Oblivians,
Deutsch Amerikanische Freundschaft,
The Slackers,
The Detroit Cobras,
Minutemen,
Circle Jerks,
Wings,
The Zeros,
Royal Trux,
Kas Product,
Bush Tetras,
The Invisible,
Super Lover Cee & Casanova Rud,
Andrew Hill,
the Slits,
Freddie Wadling,
Qualms,
Sun City Girls,
Lou Reed,
Wighnomy Brothers & Robag Wruhme,
Infiniti,
Joensuu 1685,
Crash Course in Science,
Charles Mingus,
Main Source,
The Fire Engines,
Traffic Nightmare,
Bob Dylan,
The Victims,
Lou Reed & John Cale,
Bobbi Humphrey,
B.T. Express,
Frankie Knuckles,
The Durutti Column,
Bad Manners,
Sad Lovers and Giants,
Pagans,
John Coltrane, John Coltrane, John Coltrane, John Coltrane.
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.