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 Kenya and from Seoul.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Houston and Manchester.
I'm losing my edge to the art-school Mexico City 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 harpsichord sounds with much patience.
I was there when Lou Reed 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 These Immortal Souls to the rock kids.
I played it at the Astoria.
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 Qualms. All the underground hits.
All Thompson Twins tracks. I heard you have a vinyl of every Cymande 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 '70s cut and another box set from the '80s.
I hear you're buying a theremin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Icehouse record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pole,
The Mummies,
Hasil Adkins,
Girls At Our Best!,
Organ,
The Raincoats,
Liaisons Dangereuses,
London Community Gospel Choir,
The Slits,
T.S.O.L.,
Fat Boys,
Brass Construction,
Juan Atkins,
Johnny Osbourne,
R.M.O.,
Shuggie Otis,
New York Dolls,
It's A Beautiful Day,
Surgeon,
Stiv Bators,
Be Bop Deluxe,
Pete Rock & C.L. Smooth,
Dead Boys,
The Monochrome Set,
AZ,
Parry Music,
Main Source,
Hardrive,
DeepChord presents Echospace,
Echo & the Bunnymen,
Warsaw,
Todd Terry,
Gil Scott-Heron & Brian Jackson,
the Fania All-Stars,
Aural Exciters,
Rotary Connection,
Sex Pistols,
Bronski Beat,
One Last Wish,
Nils Olav,
Mars,
Jacques Brel,
The Star Department,
Johnny Clarke,
EPMD,
Reagan Youth,
Pharaoh Sanders and the Fire Engines,
The Move,
LL Cool J,
Sunsets and Hearts,
Ken Boothe,
Scion,
OOIOO,
Gang of Four,
The Standells,
Section 25,
Magma,
Siouxsie and the Banshees,
Barbara Tucker,
The Trojans,
Crash Course in Science, Crash Course in Science, Crash Course in Science, Crash Course in Science.
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.