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 Marshall Islands and from Stockholm.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Edmonton and Mexico City.
I'm losing my edge to the art-school Bologna 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 Eric Copeland to the techno 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 Tom Boy. All the underground hits.
All Harmonia tracks. I heard you have a vinyl of every Patti Smith 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 '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Eric B and Rakim record.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear that you and your band have sold your guitar 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?
Moss Icon,
Saccharine Trust,
Dark Day,
Notorious BIG live in Amsterdam,
Mark Hollis,
The Martian,
Stiv Bators,
The Wake,
Pete Rock & C.L. Smooth,
Rowland S Howard / Lydia Lunch,
Guru Guru,
Marmalade,
Donald Byrd,
Cybotron,
The Barracudas,
Tommy Roe,
The Pretty Things,
Schoolly D,
Peter Gordon & Love of Life Orchestra,
The United States of America,
AZ,
The Dirtbombs,
Visionaries,LMNO, T- Love & Iriscience,
Amon Düül II,
Spandau Ballet,
The Alarm Clocks,
Pere Ubu,
Selector Dub Narcotic,
Nik Kershaw,
The Index,
The Count Five,
Little Man,
Kango’s Stein Massive,
Notorious Big And Bone Thugs,
Make Up,
Peter & Gordon,
Gichy Dan,
Infiniti,
F. McDonald,
The Peanut Butter Conspiracy,
Man Parrish,
Heaven 17,
Alphaville,
The Fuzztones,
Gang Gang Dance,
cv313,
Andrew Ashong & Theo Parrish,
Bobby Byrd,
John Lydon,
The Mummies,
Gang Green,
Patti Smith,
Silicon Teens,
Aloha Tigers,
Gregory Isaacs,
The Men They Couldn't Hang,
the Fania All-Stars,
Lafayette Afro Rock Band,
Neil Young & Crazy Horse,
Barclay James Harvest,
DJ Sneak,
Interpol,
The Birthday Party,
Lalo Schifrin, Lalo Schifrin, Lalo Schifrin, Lalo Schifrin.
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.