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 Mozambique and from Sao Paulo.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Halifax and Portland.
I'm losing my edge to the art-school Tokyo 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 linndrum 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 Peter and Kerry to the rap 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 The Young Rascals. All the underground hits.
All Electric Prunes tracks. I heard you have a vinyl of every China Crisis record on German import.
I heard that you have a white label of every seminal grunge 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 theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Velvet Underground record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scientists,
DeepChord presents Echospace,
Avey Tare & Kría Brekkan,
Gil Scott-Heron and Jamie xx,
The Birthday Party,
Monks,
Rhythm & Sound,
Camron Feat. Memphis Bleek And Beenie Seigel,
Cybotron,
Matthew Bourne,
The Pretty Things,
These Immortal Souls,
Sunsets and Hearts,
Rites of Spring,
Hasil Adkins,
Albert Ayler,
Gregory Isaacs,
Fatback Band,
The Doobie Brothers,
Erasure,
Roy Ayers Ubiquity,
Spandau Ballet,
Nirvana,
Desert Stars,
The Count Five,
Public Enemy,
X-101,
The Barracudas,
Idris Muhammad,
Popol Vuh,
Ornette Coleman,
Massinfluence,
Stereo Dub,
DNA,
Strawberry Alarm Clock,
Sight & Sound,
cv313,
The Dead C,
Maurizio,
Soul II Soul,
The Knickerbockers,
John Cale,
Bobbi Humphrey,
Clear Light,
Vladislav Delay,
Super Lover Cee & Casanova Rud,
Basic Channel,
Pole,
In Retrospect,
The Dirtbombs,
The Selecter,
De La Soul & Jungle Brothers,
The Fortunes,
Rotary Connection,
The Buckinghams,
Spoonie Gee,
Country Teasers,
Tropical Tobacco,
Yellowson,
Bluetip,
John Foxx,
Laurel Aitken,
Supertramp,
the Soft Cell, the Soft Cell, the Soft Cell, the Soft Cell.
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.