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 Philippines and from Stockholm.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1971.
I'm losing my edge.
To all the kids in Columbus and Accra.
I'm losing my edge to the art-school Columbus 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 linndrum sounds with much patience.
I was there when Donald Fagen 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 Stetsasonic to the techno 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 Lou Reed. All the underground hits.
All Ultimate Spinach tracks. I heard you have a vinyl of every Barry Ungar 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 '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Fall record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scientists,
R.M.O.,
Loose Ends,
Kayak,
Richard Hell and the Voidoids,
Nico,
Pulsallama,
Liaisons Dangereuses,
Neil Young & Crazy Horse,
Ice-T,
World's Most,
The Techniques,
Slave,
Siouxsie and the Banshees,
The American Breed,
Fad Gadget,
Archie Shepp,
The Durutti Column,
Faust,
Deadbeat,
Lou Christie,
Grauzone,
Crispian St. Peters,
Young Marble Giants,
Sunsets and Hearts,
Echo & the Bunnymen,
Little Man,
Vainqueur,
Camberwell Now,
Maurizio,
Bluetip,
The Chocolate Watch Band,
Ash Ra Tempel,
John Lydon,
Lizzy Mercier Descloux,
Audionom,
Roy Ayers Ubiquity,
Unwound,
Gregory Isaacs,
Newcleus,
The Alarm Clocks,
Talk Talk,
The Trojans,
Mark Hollis,
the Fania All-Stars,
Rotary Connection,
The Pretty Things,
Eyeless In Gaza,
Eli Mardock,
Nirvana,
Moss Icon,
Black Flag,
Laurel Aitken,
One Last Wish,
Bush Tetras,
the Association,
The Cowsills,
Todd Terry,
Slick Rick,
Wolf Eyes,
Red Lorry Yellow Lorry, Red Lorry Yellow Lorry, Red Lorry Yellow Lorry, Red Lorry Yellow Lorry.
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.