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 Norway and from Toronto.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1976.
I'm losing my edge.
To all the kids in Cairo and Bologna.
I'm losing my edge to the art-school Copenhagen 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 theremin 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 Slave to the electroclash kids.
I played it at the Roxy.
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 Tom Boy. All the underground hits.
All Amon Düül tracks. I heard you have a vinyl of every Kerri Chandler record on German import.
I heard that you have a white label of every seminal jazz 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 chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your sitar and bought an oboe.
I hear that you and your band have sold your oboe and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flash Fearless,
Deutsch Amerikanische Freundschaft,
The Techniques,
Buzzcocks,
Country Teasers,
X-102,
This Heat,
Slave,
cv313,
Fluxion,
Louis and Bebe Barron,
New York Dolls,
Eli Mardock,
Soft Machine,
Kayak,
Jacques Brel,
Don Cherry,
Soft Cell,
John Coltrane,
Das Ding,
Neil Young,
Ludus,
Schoolly D,
Freddie Wadling,
Sun City Girls,
Tropical Tobacco,
Peter and Kerry,
Moss Icon,
Donny Hathaway,
Malaria!,
Kurtis Blow,
Oppenheimer Analysis,
Fatback Band,
Sunsets and Hearts,
Unrelated Segments,
Al Stewart,
Strawberry Alarm Clock,
Black Pus,
Metal Thangz,
Neil Young & Crazy Horse,
Pete Rock & C.L. Smooth,
Grandmaster Flash,
a-ha,
FM Einheit,
Johnny Clarke,
The Move,
Peter Gordon & Love of Life Orchestra,
The Kinks,
Chris Corsano,
Morten Harket,
Rhythim Is Rhythim,
Lou Reed & Metallica,
The Walker Brothers,
Eric B and Rakim,
Suburban Knight,
Marc Almond,
Notorious BIG live in Amsterdam,
The Zeros,
John Foxx,
The Men They Couldn't Hang,
Shoche,
The Jesus and Mary Chain, The Jesus and Mary Chain, The Jesus and Mary Chain, The Jesus and Mary Chain.
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.