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 Turkmenistan and from Edmonton.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1979.
I'm losing my edge.
To all the kids in Copenhagen and Mumbai.
I'm losing my edge to the art-school Mumbai 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 Avey Tare's Slasher Flicks 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 Khruangbin. All the underground hits.
All Erasure tracks. I heard you have a vinyl of every Average White Band 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 '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Public Image Ltd. record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tears for Fears,
Average White Band,
Dave Gahan,
Cluster,
Lakeside,
The New Christs,
DJ Style,
Judy Mowatt,
The Real Kids,
Panda Bear,
John Coltrane,
Marmalade,
The Index,
The Barracudas,
Monks,
Thompson Twins,
Scratch Acid,
Pylon,
Minutemen,
Bob Dylan,
Kool G Rap & DJ Polo,
Cabaret Voltaire,
The Names,
Jesper Dahlbäck,
Zero Boys,
Wally Richardson,
Grey Daturas,
A Certain Ratio,
Wire,
Gichy Dan,
The Five Americans,
Infiniti,
Darondo,
Barclay James Harvest,
Bronski Beat,
E-Dancer,
Royal Trux,
Rhythim Is Rhythim,
Sad Lovers and Giants,
Kurtis Blow,
The Slits,
Rakim,
Visionaries,LMNO, T- Love & Iriscience,
Pantytec,
Larry & the Blue Notes,
The Misunderstood,
Mandrill,
Swans,
Jimmy McGriff,
Traffic Nightmare,
Gil Scott-Heron and Jamie xx,
Black Flag,
Crime,
Brass Construction,
Rufus Thomas,
Theoretical Girls,
The Smoke,
John Holt,
Wings,
Ronan,
Don Cherry,
London Community Gospel Choir,
Metal Thangz,
Gil Scott Heron, Gil Scott Heron, Gil Scott Heron, Gil Scott Heron.
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.