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 Nepal 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 1975.
I'm losing my edge.
To all the kids in Beijing and Hong Kong.
I'm losing my edge to the art-school Winnipeg 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 synthesizer sounds with much patience.
I was there when David Bowie 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 Moleskins to the rock 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 Pantaleimon. All the underground hits.
All Television tracks. I heard you have a vinyl of every The Blues Magoos record on German import.
I heard that you have a white label of every seminal punk 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 chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Robert Hood record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jacob Miller,
The Modern Lovers,
Second Layer,
Kerrie Biddell,
The Sisters of Mercy,
Kayak,
Sandy B,
The Red Krayola,
Super Lover Cee & Casanova Rud,
Sound Behaviour,
Soft Cell,
Hardrive,
Amazonics,
Brothers Johnson,
Bang On A Can,
Lou Christie,
The Fuzztones,
X-Ray Spex,
New Order,
Gil Scott Heron,
Cybotron,
Carl Craig,
T. Rex,
Little Man,
The Leaves,
Soft Machine,
FM Einheit,
Sällskapet,
Anthony Braxton,
Suicide,
Metal Thangz,
Sarah Menescal,
The American Breed,
Red Lorry Yellow Lorry,
The Cure,
The Fall,
DeepChord presents Echospace,
Deutsch Amerikanische Freundschaft,
London Community Gospel Choir,
Bootsy Collins,
Amon Düül II,
Girls At Our Best!,
Rhythm & Sound,
Delon & Dalcan,
Oppenheimer Analysis,
Lyres,
Cymande,
Terrestrial Tones,
Avey Tare & Kría Brekkan,
The Selecter,
Peter and Kerry,
Moss Icon,
Susan Cadogan,
The Slackers,
The Dead C,
The Buckinghams,
H. Thieme,
Laurel Aitken,
Half Japanese,
Bob Dylan,
Idris Muhammad,
Camouflage, Camouflage, Camouflage, Camouflage.
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.