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 United Kingdom and from Shanghai.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Lille and Tehran.
I'm losing my edge to the art-school London 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 1965 at the first Beefheart practice in a loft in Lancaster.
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 Oneida to the crunk 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 Brothers Johnson. All the underground hits.
All The Birthday Party tracks. I heard you have a vinyl of every The Blackbyrds record on German import.
I heard that you have a white label of every seminal punk 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 an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Jesper Dahlback record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Neil Young,
Flash Fearless,
Moss Icon,
Monolake,
Masters at Work,
Harpers Bizarre,
Silicon Teens,
R.M.O.,
Mark Hollis,
Funky Four + One,
Bobby Hutcherson,
It's A Beautiful Day,
Brass Construction,
Roxy Music,
Traffic Nightmare,
Aaron Thompson,
Eyeless In Gaza,
Blancmange,
Wighnomy Brothers & Robag Wruhme,
The Stooges,
Reuben Wilson,
Altered Images,
Matthew Halsall,
Camouflage,
Adolescents,
Jeff Lynne,
Mad Mike,
The Tremeloes,
Mission of Burma,
Throbbing Gristle,
Rites of Spring,
Saccharine Trust,
the Fania All-Stars,
Crash Course in Science,
The Offenders,
AZ,
The Cowsills,
John Holt,
Unwound,
Alice Coltrane,
Röyhkä ja Rättö ja Lehtisalo,
Wasted Youth,
The Searchers,
Ultravox,
Talk Talk,
E-Dancer,
Television Personalities,
Ajijia Myrayebe,
The Blues Magoos,
The Smoke,
Soft Cell,
Guru Guru,
Marc Almond,
Faust,
Quadrant,
Angry Samoans,
The Names,
Gastr Del Sol,
Kas Product,
Public Image Ltd.,
The Slits,
Simply Red,
Vladislav Delay, Vladislav Delay, Vladislav Delay, Vladislav Delay.
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.