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 Lebanon and from Taipei.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Glasgow and Mexico City.
I'm losing my edge to the art-school Cairo 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 güiro sounds with much patience.
I was there when Robert Palmer 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 Bobby Byrd to the crunk kids.
I played it at the Troubador.
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 X-101. All the underground hits.
All Bang On A Can tracks. I heard you have a vinyl of every The Kinks record on German import.
I heard that you have a white label of every seminal disco 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 an organ and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Gun Club record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alison Limerick,
Man Parrish,
Avey Tare & Kría Brekkan,
The Mummies,
The Moody Blues,
Lungfish,
Prince Buster,
Avey Tare,
Notorious Big And Bone Thugs,
The Modern Lovers,
Agitation Free,
One Last Wish,
Popol Vuh,
Radiohead,
Jacques Brel,
Eli Mardock,
Scion,
Rotary Connection,
Livin' Joy,
Eve St. Jones,
Jandek,
Gil Scott-Heron and Jamie xx,
John Coltrane,
Peter and Kerry,
Camouflage,
Mandrill,
Dead Boys,
Terry Callier,
Matthew Bourne,
Parry Music,
Los Fastidios,
Amon Düül,
Thinking Fellers Union Local 282,
Howard Jones,
Ten City,
Peter & Gordon,
Little Man,
Siglo XX,
The Doors,
Glenn Branca,
Country Joe & The Fish,
Faraquet,
Sonic Youth,
Average White Band,
Magma,
Ohio Players,
The Human League,
Moss Icon,
Jesper Dahlback,
Black Flag,
Tommy Roe,
Swans,
Eric Copeland,
The Martian,
Sexual Harrassment,
Andrew Ashong & Theo Parrish,
The Sonics,
Rowland S Howard / Lydia Lunch,
Dorothy Ashby,
Toni Rubio,
Morten Harket,
Carl Craig,
Absolute Body Control, Absolute Body Control, Absolute Body Control, Absolute Body Control.
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.