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 Bhutan and from Winnipeg.
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 1978.
I'm losing my edge.
To all the kids in Glasgow and Houston.
I'm losing my edge to the art-school Mexico City 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 1984 at the first Arcadia practice in a loft in London.
I was working on the linndrum sounds with much patience.
I was there when Tom Verlaine 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 Eden Ahbez 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 The Trojans. All the underground hits.
All AZ tracks. I heard you have a vinyl of every The Music Machine record on German import.
I heard that you have a white label of every seminal dance 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 a theremin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Deutsch Amerikanische Freundschaft record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Moleskins,
Lou Christie,
Arab on Radar,
Danielle Patucci,
Terry Callier,
Public Image Ltd.,
Subhumans,
The Martian,
Tubeway Army,
Clear Light,
Ajijia Myrayebe,
Anakelly,
Loose Ends,
The Associates,
New York Dolls,
Ultramagnetic MC's,
Animal Collective,
Steve Hackett,
a-ha,
Thee Headcoats,
Drexciya,
Fela Kuti,
Man Parrish,
James Chance & The Contortions,
The Divine Comedy,
Ash Ra Tempel,
D'Angelo,
The Searchers,
Duran Duran,
Kango’s Stein Massive,
Bob Dylan,
Lower 48,
Deadbeat,
Peter and Kerry,
Agent Orange,
Underground Resistance,
U.S. Maple,
The Neon Judgement,
ABBA,
Scan 7,
Kerri Chandler,
Bang On A Can,
Altered Images,
Young Marble Giants,
Agitation Free,
Lalo Schifrin,
The Monks,
48th St. Collective,
The Five Americans,
AZ,
Flamin' Groovies,
Lakeside,
Thompson Twins,
Aural Exciters,
Peter & Gordon,
Judy Mowatt,
Crispian St. Peters,
Lyres,
Gichy Dan,
Oppenheimer Analysis,
Charles Mingus, Charles Mingus, Charles Mingus, Charles Mingus.
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.