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 Bhutan and from Woodstock.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1971.
I'm losing my edge.
To all the kids in Copenhagen and Madrid.
I'm losing my edge to the art-school Lagos 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 rhodes sounds with much patience.
I was there when Holger Czukay 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 Traffic Nightmare to the electroclash kids.
I played it at CBGB's.
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 Deadbeat. All the underground hits.
All Groovy Waters tracks. I heard you have a vinyl of every Brass Construction record on German import.
I heard that you have a white label of every seminal dance 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 808 and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Avey Tare's Slasher Flicks record.
I hear that you and your band have sold your guitar and bought a sitar.
I hear that you and your band have sold your sitar and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lightning Bolt,
Bob Dylan,
Nico,
The Selecter,
Eli Mardock,
Jesper Dahlback,
Harpers Bizarre,
Parry Music,
Stetsasonic,
Cameo,
Quadrant,
Bronski Beat,
The Wake,
R.M.O.,
Be Bop Deluxe,
Gil Scott-Heron & Brian Jackson,
Buzzcocks,
Marc Almond,
Todd Rundgren,
The Dirtbombs,
Janne Schatter,
D'Angelo,
Bobby Womack,
Altered Images,
Ash Ra Tempel,
Khruangbin,
Section 25,
Lou Christie,
Roxy Music,
Erykah Badu,
The Neon Judgement,
Joe Smooth,
Flamin' Groovies,
The Cowsills,
Steve Hackett,
Man Parrish,
Pole,
Grandmaster Flash,
Gil Scott-Heron and Jamie xx,
Super Lover Cee & Casanova Rud,
Crime,
Con Funk Shun,
Soul II Soul,
Junior Murvin,
Letta Mbulu,
Make Up,
FM Einheit,
The Sound,
Los Fastidios,
Ultramagnetic MC's,
Isaac Hayes,
The Skatalites,
Pere Ubu,
Lyres,
Amon Düül,
The Searchers,
Electric Light Orchestra,
The Buckinghams,
Robert Hood, Robert Hood, Robert Hood, Robert Hood.
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.