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 Israel and from Sao Paulo.
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 1966 to 1970.
I'm losing my edge.
To all the kids in London and Tokyo.
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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the organ 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 Japan to the electroclash 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 Mo-Dettes. All the underground hits.
All Pet Shop Boys tracks. I heard you have a vinyl of every 10cc 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 '50s cut and another box set from the '90s.
I hear you're buying a 808 and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Audionom record.
I hear that you and your band have sold your sitar and bought a theremin.
I hear that you and your band have sold your theremin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
KRS-One,
Grauzone,
Camberwell Now,
Kerri Chandler,
Minor Threat,
Quadrant,
Notorious BIG live in Amsterdam,
Country Joe & The Fish,
Pussy Galore,
Los Fastidios,
Pharaoh Sanders and the Fire Engines,
Art Ensemble Of Chicago,
The Dirtbombs,
Glambeats Corp.,
Grey Daturas,
Rites of Spring,
Richard Hell and the Voidoids,
Throbbing Gristle,
Sound Behaviour,
Man Parrish,
Monks,
Dorothy Ashby,
Scion,
Bang On A Can,
Excepter,
Unwound,
Cal Tjader,
Basic Channel,
Con Funk Shun,
Cabaret Voltaire,
Rufus Thomas,
Circle Jerks,
A Flock of Seagulls,
kango's stein massive,
Arab on Radar,
Shuggie Otis,
the Fania All-Stars,
Lizzy Mercier Descloux,
John Foxx,
Oblivians,
Faraquet,
Avey Tare's Slasher Flicks,
Darondo,
Index,
Josef K,
Pantaleimon,
The Monochrome Set,
Deakin,
Electric Prunes,
Rosa Yemen,
Altered Images,
Kool Moe Dee,
JFA,
Gong,
The Gladiators,
The Names,
The Fire Engines,
Glenn Branca,
Swell Maps, Swell Maps, Swell Maps, Swell Maps.
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.