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 France and from Mexico City.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1966 to 1977.
I'm losing my edge.
To all the kids in Spokane and Toronto.
I'm losing my edge to the art-school Spokane 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 mellotron sounds with much patience.
I was there when Nile Rodgers 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 the Normal to the electroclash kids.
I played it at Trash.
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 Harry Pussy. All the underground hits.
All X-101 tracks. I heard you have a vinyl of every Fugazi 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 '80s cut and another box set from the '90s.
I hear you're buying a linndrum and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Bluetip record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skriet,
The Men They Couldn't Hang,
Manfred Mann's Earth Band,
Josef K,
Röyhkä ja Rättö ja Lehtisalo,
10cc,
Newcleus,
Blake Baxter,
Slave,
The Gladiators,
Swans,
The Invisible,
Oppenheimer Analysis,
The Sound,
The Neon Judgement,
The Dave Clark Five,
Captain Beefheart & His Magic Band,
The Slits,
Yusef Lateef,
Robert Görl,
The Fire Engines,
Monks,
The Moleskins,
Kayak,
La Düsseldorf,
Fluxion,
Richard Hell and the Voidoids,
Fela Kuti,
Dave Gahan,
The Real Kids,
Connie Case,
Toni Rubio,
Wally Richardson,
Scrapy,
Jerry Gold Smith,
Matthew Halsall,
The Detroit Cobras,
ABC,
Selector Dub Narcotic,
the Sonics,
Andrew Ashong & Theo Parrish,
The Black Dice,
Man Parrish,
These Immortal Souls,
Bobby Womack,
Bobby Sherman,
Rites of Spring,
Grandmaster Flash,
Marcia Griffiths,
The United States of America,
The Shadows of Knight,
The West Coast Pop Art Experimental Band,
Unrelated Segments,
The Mummies,
Fifty Foot Hose,
The Modern Lovers,
Nirvana,
The Walker Brothers,
Crime,
Gerry Rafferty,
Howard Jones,
Marshall Jefferson,
Mo-Dettes, Mo-Dettes, Mo-Dettes, Mo-Dettes.
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.