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 Kiribati and from Taipei.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Salvador and Portland.
I'm losing my edge to the art-school Portland 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 Mistral practice in a loft in Amsterdam.
I was working on the synthesizer sounds with much patience.
I was there when Michael McDonald 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 Warren Ellis to the funk 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 Roy Ayers Ubiquity. All the underground hits.
All Warren Ellis tracks. I heard you have a vinyl of every Tres Demented record on German import.
I heard that you have a white label of every seminal disco 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 linndrum and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Siouxsie and the Banshees record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bang On A Can,
Max Romeo,
Camron Feat. Jay Z And Juelz,
Bill Wells,
Grauzone,
Subhumans,
Masters at Work,
The Mighty Diamonds,
Bobby Sherman,
Funkadelic,
Roy Ayers Ubiquity,
Lindisfarne,
Liaisons Dangereuses,
Soft Machine,
Zapp,
Animal Collective,
Tomorrow,
Rowland S Howard / Lydia Lunch,
Flamin' Groovies,
T. Rex,
Mary Jane Girls,
Pierre Henry,
Gregory Isaacs,
The Leaves,
a-ha,
Drive Like Jehu,
Echospace,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Gladiators,
Simply Red,
Archie Shepp,
James Chance & The Contortions,
Soft Cell,
Mandrill,
The Toasters,
Young Marble Giants,
Bootsy's Rubber Band,
The Wake,
David McCallum,
Japan,
The Young Rascals,
Fifty Foot Hose,
Lalann,
Althea and Donna,
Sixth Finger,
The Cure,
The Grass Roots,
The Cosmic Jokers,
Severed Heads,
Soulsonic Force,
The Chocolate Watch Band,
The Smiths,
The Fortunes,
Crash Course in Science,
Girls At Our Best!,
T.S.O.L.,
The Associates,
The Evens,
MC5,
Nirvana,
Ituana,
Spoonie Gee,
The Smoke, The Smoke, The Smoke, The Smoke.
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.