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 Gambia and from Tehran.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Edmonton and Salvador.
I'm losing my edge to the art-school Cairo 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 Robert Palmer 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 Crime to the punk kids.
I played it at the Spitz.
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 Los Fastidios. All the underground hits.
All Yaz tracks. I heard you have a vinyl of every The J.B.'s record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a güiro and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Nirvana record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mo-Dettes,
Sun Ra Arkestra,
Quando Quango,
Cybotron,
Lalann,
Ossler,
Depeche Mode,
The Sonics,
Ultimate Spinach,
Josef K,
Black Moon,
Traffic Nightmare,
The Standells,
the Fania All-Stars,
Kevin Saunderson,
T. Rex,
Gerry Rafferty,
Sun City Girls,
The Index,
Junior Murvin,
Teenage Jesus and the Jerks,
Deepchord,
Rufus Thomas,
John Holt,
Monolake,
the Human League,
Make Up,
Vaughan Mason & Crew,
Amon Düül,
Interpol,
Youth Brigade,
Moebius,
The Jesus and Mary Chain,
Unwound,
Rekid,
Tom Boy,
Bill Near,
The Dead C,
Soft Cell,
Radiohead,
Marc Almond,
James Chance & The Contortions,
Gastr Del Sol,
Kaleidoscope,
Arcadia,
Ultra Naté,
Roy Ayers Ubiquity,
The Human League,
The Motions,
Richard Hell and the Voidoids,
Minny Pops,
The Dave Clark Five,
Man Eating Sloth,
Grandmaster Flash,
Al Stewart,
Kerri Chandler,
Jacob Miller,
OOIOO,
Skriet,
Andrew Hill,
Eli Mardock,
Sex Pistols,
Aural Exciters, Aural Exciters, Aural Exciters, Aural Exciters.
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.