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 Lesotho and from Copenhagen.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Toronto and Toronto.
I'm losing my edge to the art-school Columbus 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the guitar 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 Kenny Larkin to the grime kids.
I played it at the 40 Watt.
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 Zero Boys. All the underground hits.
All Shoche tracks. I heard you have a vinyl of every Stetsasonic record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a snare and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The West Coast Pop Art Experimental Band record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Slackers,
Sixth Finger,
Harpers Bizarre,
The Young Rascals,
Arthur Verocai,
Traffic Nightmare,
Massinfluence,
Supertramp,
Maleditus Sound,
Loose Ends,
The United States of America,
the Fania All-Stars,
Lou Reed & John Cale,
JFA,
Spoonie Gee,
Spandau Ballet,
The Chocolate Watch Band,
Lower 48,
Erykah Badu,
Reagan Youth,
Prince Buster,
Dawn Penn,
Rhythim Is Rhythim,
Delta 5,
48th St. Collective,
Suburban Knight,
Neu!,
Davy DMX,
London Community Gospel Choir,
Rhythm & Sound,
Grey Daturas,
Junior Murvin,
Bill Wells,
Marcia Griffiths,
The Martian,
Nick Cave & The Bad Seeds,
Bad Manners,
Kenny Larkin,
Robert Wyatt,
Oppenheimer Analysis,
Grandmaster Flash and the Furious Five,
Excepter,
Strawberry Alarm Clock,
Al Stewart,
Accadde A,
Lungfish,
Electric Light Orchestra,
The Red Krayola,
Nils Olav,
Marc Romboy vs. Booka Shade,
Guru Guru,
The Star Department,
Monks,
De La Soul & Jungle Brothers,
Colin Newman,
Joe Finger,
Flamin' Groovies,
Eric Dolphy,
Subhumans,
Pylon,
Eric Copeland, Eric Copeland, Eric Copeland, Eric Copeland.
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.