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 Portugal and from Calgary.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Beijing and Sao Paulo.
I'm losing my edge to the art-school Winnipeg 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 guitar sounds with much patience.
I was there when Captain Beefheart 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 Move to the rock kids.
I played it at Trash.
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 Slave. All the underground hits.
All Vladislav Delay tracks. I heard you have a vinyl of every Eurythmics 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 '60s cut and another box set from the '90s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Eyeless In Gaza record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Vaughan Mason & Crew,
Big Daddy Kane,
Suburban Knight,
ABC,
Lou Christie,
T. Rex,
Los Fastidios,
Altered Images,
X-102,
The Five Americans,
Juan Atkins,
Model 500,
Boz Scaggs,
Crispy Ambulance,
The Red Krayola,
The Young Rascals,
Camberwell Now,
The Cowsills,
Robert Görl,
the Human League,
Bootsy Collins,
Johnny Clarke,
Marmalade,
Sandy B,
Pete Rock & C.L. Smooth,
Von Mondo,
Blake Baxter,
Boredoms,
Johnny Osbourne,
Royal Trux,
Rapeman,
Lou Reed & Metallica,
DJ Style,
Brass Construction,
John Cale,
Lightning Bolt,
Gastr Del Sol,
The Associates,
Bang On A Can,
Don Cherry,
Black Pus,
Supertramp,
Eric Copeland,
Japan,
Essential Logic,
Kas Product,
Livin' Joy,
X-101,
Sight & Sound,
Isaac Hayes,
Yazoo,
Porter Ricks,
Babytalk,
Joyce Sims,
The Martian,
Man Parrish,
La Düsseldorf,
Crooked Eye,
The Seeds,
Lebanon Hanover,
Kevin Saunderson, Kevin Saunderson, Kevin Saunderson, Kevin Saunderson.
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.