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 Moldova and from Edmonton.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Toronto and Bremen.
I'm losing my edge to the art-school Toronto 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 güiro sounds with much patience.
I was there when Donald Fagen 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 Mojo Men to the disco kids.
I played it at the Hacienda.
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 Jeru the Damaja. All the underground hits.
All Althea and Donna tracks. I heard you have a vinyl of every The Martian record on German import.
I heard that you have a white label of every seminal rock 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 808 and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Crispian St. Peters record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gun Club,
Drexciya,
Liliput,
The Skatalites,
The Associates,
CMW,
Pete Rock & C.L. Smooth,
The Evens,
Jacob Miller,
Crispian St. Peters,
Crime,
Notorious Big And Bone Thugs,
Bobby Womack,
Jesper Dahlbäck,
Public Image Ltd.,
The Alarm Clocks,
Easy Going,
Radiopuhelimet,
Chris Corsano,
Gastr Del Sol,
Scrapy,
Altered Images,
Agitation Free,
Lou Reed,
Subhumans,
Lafayette Afro Rock Band,
Pulsallama,
Bill Wells,
Arcadia,
a-ha,
DJ Style,
Talk Talk,
The Stooges,
Kango’s Stein Massive,
Thompson Twins,
Monolake,
Siouxsie and the Banshees,
Freddie Wadling,
John Foxx,
Tomorrow,
The Grass Roots,
The Blackbyrds,
Mandrill,
The Vogues,
Schoolly D,
The Royal Family And The Poor,
Mark Hollis,
Kerri Chandler,
Shoche,
The Techniques,
The Seeds,
Hardrive,
Eric B and Rakim,
The Gories,
The Move,
Main Source,
Bob Dylan,
Nils Olav,
Lalann,
Dennis Brown,
Jacques Brel,
A Certain Ratio,
Oblivians, Oblivians, Oblivians, Oblivians.
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.