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 Norway and from Johannesburg.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Houston and Bologna.
I'm losing my edge to the art-school Mumbai 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 guitar 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 Soft Machine to the techno 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 The Beau Brummels. All the underground hits.
All Gang Gang Dance tracks. I heard you have a vinyl of every Saccharine Trust record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a snare and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Minutemen record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythm & Sound,
Super Lover Cee & Casanova Rud,
Godley & Creme,
Von Mondo,
Bill Wells,
Peter & Gordon,
Agent Orange,
Tommy Roe,
Siouxsie and the Banshees,
Neu!,
a-ha,
Marcia Griffiths,
A Certain Ratio,
Fifty Foot Hose,
Simply Red,
Stockholm Monsters,
The Residents,
Connie Case,
Avey Tare's Slasher Flicks,
Sparks,
Gastr Del Sol,
Underground Resistance,
Glambeats Corp.,
Cecil Taylor,
Saccharine Trust,
Dave Gahan,
The Doobie Brothers,
Howard Jones,
The West Coast Pop Art Experimental Band,
Magma,
K-Klass,
the Normal,
Wire,
The Dave Clark Five,
Kool Moe Dee,
The Pretty Things,
Jacob Miller,
Bush Tetras,
Nick Fraelich,
The Alarm Clocks,
Flipper,
The Music Machine,
Fat Boys,
Kas Product,
The Victims,
Gang Green,
The Cure,
The Cosmic Jokers,
Marine Girls,
The Young Rascals,
Minor Threat,
The New Christs,
Radiopuhelimet,
Sun City Girls,
T. Rex,
Au Pairs,
Sun Ra,
Minnie Riperton,
Country Joe & The Fish,
Ossler,
The Seeds,
cv313, cv313, cv313, cv313.
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.