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 Sweden and from Houston.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1975.
I'm losing my edge.
To all the kids in Salvador and Copenhagen.
I'm losing my edge to the art-school Shanghai 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 808 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 Deadbeat to the crunk kids.
I played it at Cafe Wha.
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 Lindisfarne. All the underground hits.
All Tears for Fears tracks. I heard you have a vinyl of every 10cc record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Liaisons Dangereuses record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Henry Cow,
Charles Mingus,
Suburban Knight,
A Certain Ratio,
Mo-Dettes,
Pharaoh Sanders and the Fire Engines,
The Sisters of Mercy,
Harpers Bizarre,
Moss Icon,
Talk Talk,
Kenny Larkin,
Echo & the Bunnymen,
K-Klass,
Kas Product,
Flamin' Groovies,
The New Christs,
Richard Hell and the Voidoids,
The Motions,
Brick,
Radio Birdman,
Sunsets and Hearts,
China Crisis,
The Seeds,
Bobby Sherman,
48th St. Collective,
Matthew Bourne,
ABBA,
Prince Buster,
Bill Near,
The Velvet Underground,
John Cale,
Unrelated Segments,
Masters at Work,
Symarip,
Traffic Nightmare,
The Techniques,
Television,
Fifty Foot Hose,
Cameo,
The Trojans,
Minutemen,
Ten City,
The Sound,
John Holt,
Barry Ungar,
Absolute Body Control,
E-Dancer,
The Birthday Party,
Sad Lovers and Giants,
Rahsaan Roland Kirk,
Suicide,
Lafayette Afro Rock Band,
Andrew Ashong & Theo Parrish,
Steve Hackett,
DNA,
H. Thieme,
Terror Squad Feat. Camron,
the Association,
Wolf Eyes,
Notorious Big And Bone Thugs,
Ronan,
The Misunderstood,
Amon Düül, Amon Düül, Amon Düül, Amon Düül.
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.