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 Zimbabwe and from Salvador.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Mumbai and Bremen.
I'm losing my edge to the art-school Philadelphia 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 chamberlin 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 grime kids.
I played it at Cafe Wha.
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 Von Mondo. All the underground hits.
All Oneida tracks. I heard you have a vinyl of every Kas Product 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 '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül II record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Althea and Donna,
Warren Ellis,
Vainqueur,
The Gap Band,
Icehouse,
Los Fastidios,
Interpol,
Kango’s Stein Massive,
Frankie Knuckles,
Organ,
Rotary Connection,
Parry Music,
Subhumans,
Q and Not U,
The Misunderstood,
Kas Product,
The Dave Clark Five,
Yellowson,
Avey Tare's Slasher Flicks,
The Alarm Clocks,
Pantaleimon,
Spoonie Gee,
Whodini,
Peter and Kerry,
Newcleus,
Delon & Dalcan,
Sun Ra,
Richard Hell and the Voidoids,
Skarface,
Sonny Sharrock,
Terry Callier,
Hardrive,
Sly & The Family Stone,
Barrington Levy,
Inner City,
Malaria!,
Model 500,
The Fortunes,
Steve Hackett,
Zero Boys,
Zapp,
Tim Buckley,
The Mighty Diamonds,
Sunsets and Hearts,
The Fuzztones,
The Fugs,
Little Man,
Marc Almond,
MDC,
James Chance & The Contortions,
Gang Gang Dance,
Iggy Pop,
Bobby Hutcherson,
The American Breed,
Radiohead,
Procol Harum,
The Seeds,
Franke,
Country Joe & The Fish,
the Human League,
Bootsy Collins,
Negative Approach, Negative Approach, Negative Approach, Negative Approach.
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.