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 Antigua and from Halifax.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Copenhagen and Lyon.
I'm losing my edge to the art-school Philadelphia 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 arpeggiator 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 Fatback Band to the jazz kids.
I played it at the Roxy.
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 kango's stein massive. All the underground hits.
All Funky Four + One tracks. I heard you have a vinyl of every Leonard Cohen 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 '50s cut and another box set from the '70s.
I hear you're buying a snare and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Eric Copeland record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
MDC,
Grandmaster Flash and the Furious Five,
Jerry's Kids,
Anthony Braxton,
cv313,
Lou Reed & John Cale,
The Victims,
Easy Going,
Roxette,
The Doobie Brothers,
Janne Schatter,
Pharoah Sanders,
The Star Department,
the Fania All-Stars,
Duran Duran,
a-ha,
Robert Görl,
The Searchers,
U.S. Maple,
Crime,
The Sound,
Rapeman,
La Düsseldorf,
Deadbeat,
The Slits,
The Blackbyrds,
Q65,
Moebius,
Vainqueur,
The Fortunes,
Lee Hazlewood,
Captain Beefheart & His Magic Band,
Kenny Larkin,
FM Einheit,
Hoover,
Leonard Cohen,
Prince Buster,
Ice-T,
De La Soul & Jungle Brothers,
Moby Grape,
Warsaw,
Eve St. Jones,
Sparks,
Lungfish,
The Birthday Party,
Radiopuhelimet,
Susan Cadogan,
Section 25,
Mad Mike,
The Standells,
DJ Style,
Pere Ubu,
The Raincoats,
Mission of Burma,
Rosa Yemen,
Kurtis Blow,
Kango’s Stein Massive,
Lebanon Hanover,
Max Romeo,
Tres Demented,
Juan Atkins,
Barry Ungar,
Rotary Connection,
Mr. Review, Mr. Review, Mr. Review, Mr. Review.
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.