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 Micronesia and from Toronto.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Delhi and Copenhagen.
I'm losing my edge to the art-school Seoul 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 synthesizer sounds with much patience.
I was there when Lou Reed 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 E-Dancer to the grunge kids.
I played it at the 40 Watt.
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 Sonny Sharrock. All the underground hits.
All Deepchord tracks. I heard you have a vinyl of every OOIOO 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 '70s cut and another box set from the '70s.
I hear you're buying a 808 and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Negative Approach record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Howard Jones,
Camberwell Now,
Max Romeo,
The Last Poets,
Rites of Spring,
Peter and Kerry,
Siouxsie and the Banshees,
Brick,
Black Moon,
Fugazi,
Eyeless In Gaza,
Donald Byrd,
Joy Division,
Massinfluence,
Lizzy Mercier Descloux,
Marc Almond,
Peter & Gordon,
The Men They Couldn't Hang,
Aloha Tigers,
Fad Gadget,
Röyhkä ja Rättö ja Lehtisalo,
Isaac Hayes,
Clear Light,
Donny Hathaway,
Pere Ubu,
Roger Hodgson,
Cymande,
a-ha,
Kenny Larkin,
The Peanut Butter Conspiracy,
James Chance & The Contortions,
Mary Jane Girls,
Icehouse,
X-Ray Spex,
Hoover,
Sun Ra Arkestra,
U.S. Maple,
Little Man,
Trumans Water,
Vaughan Mason & Crew,
Stereo Dub,
Soul II Soul,
Gerry Rafferty,
Lou Christie,
The Residents,
Tres Demented,
Matthew Halsall,
Scott Walker,
Royal Trux,
Soft Machine,
KRS-One,
Roxette,
Reuben Wilson,
Blossom Toes,
H. Thieme,
The Cure, The Cure, The Cure, The Cure.
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.