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 Cyprus and from Tokyo.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Seoul and Houston.
I'm losing my edge to the art-school Houston 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the güiro 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 Fluxion to the crunk kids.
I played it at CBGB's.
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 LL Cool J. All the underground hits.
All Porter Ricks tracks. I heard you have a vinyl of every The Index 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 '50s cut and another box set from the '80s.
I hear you're buying a theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Pharoah Sanders record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amazonics,
John Cale,
Masters at Work,
The Golliwogs,
Barry Ungar,
Delon & Dalcan,
the Bar-Kays,
Peter Gordon & Love of Life Orchestra,
Shuggie Otis,
John Holt,
The Monochrome Set,
Kurtis Blow,
Crash Course in Science,
Visionaries,LMNO, T- Love & Iriscience,
Angry Samoans,
The Misunderstood,
Animal Collective,
The Sonics,
Dennis Brown,
Lalo Schifrin,
The Stooges,
Lou Reed & John Cale,
Avey Tare & Kría Brekkan,
The Names,
Todd Terry,
Intrusion,
Manfred Mann's Earth Band,
Schoolly D,
Visage,
Sun City Girls,
Aaron Thompson,
Captain Beefheart & His Magic Band,
Magazine,
MDC,
Parry Music,
Pharaoh Sanders and the Fire Engines,
Japan,
Bluetip,
X-101,
Saccharine Trust,
Fatback Band,
Derrick May,
The Busters,
Porter Ricks,
Desert Stars,
Steve Hackett,
Ponytail,
Sixth Finger,
Anakelly,
Stockholm Monsters,
Oneida,
The Doors,
The Dirtbombs,
The Beau Brummels,
The Real Kids,
Andrew Ashong & Theo Parrish,
Quadrant,
Thompson Twins,
Traffic Nightmare,
The Smoke,
Jesper Dahlback, Jesper Dahlback, Jesper Dahlback, Jesper Dahlback.
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.