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 Andorra and from Portland.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Houston and Halifax.
I'm losing my edge to the art-school Accra 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 güiro 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 Ronan to the funk kids.
I played it at the Troubador.
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 James Chance & The Contortions. All the underground hits.
All The Monochrome Set tracks. I heard you have a vinyl of every Cheater Slicks record on German import.
I heard that you have a white label of every seminal electroclash 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 theremin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Urselle record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Main Source,
Joe Smooth,
Ohio Players,
Visionaries,LMNO, T- Love & Iriscience,
Notorious BIG live in Amsterdam,
The Offenders,
Minutemen,
MC5,
The Men They Couldn't Hang,
Barry Ungar,
Magma,
Nick Fraelich,
PIL,
The Beau Brummels,
Rites of Spring,
Pylon,
Cluster,
Sonic Youth,
Essential Logic,
In Retrospect,
the Soft Cell,
Neil Young & Crazy Horse,
The Monochrome Set,
Rapeman,
Rufus Thomas,
The Techniques,
Bronski Beat,
Cymande,
The American Breed,
The Kinks,
DNA,
Aloha Tigers,
The Skatalites,
Fela Kuti,
Kings Of Tomorrow,
Technova,
Ultravox,
Black Flag,
Barbara Tucker,
Jandek,
Kerri Chandler,
Black Pus,
Avey Tare,
Audionom,
Liliput,
The Moleskins,
Animal Collective,
Pagans,
The Gories,
Wasted Youth,
Fatback Band,
Marine Girls,
Easy Going,
Sam Rivers,
Lalo Schifrin,
Intrusion,
Flamin' Groovies,
Subhumans,
Minny Pops,
the Fania All-Stars,
Toni Rubio,
Gichy Dan,
Crooked Eye,
T.S.O.L., T.S.O.L., T.S.O.L., T.S.O.L..
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.