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 Macedonia and from Shanghai.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Lille and Seoul.
I'm losing my edge to the art-school Edmonton 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 arpeggiator 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 Ten City to the electroclash kids.
I played it at the Crocodile.
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 Black Sheep. All the underground hits.
All Skarface tracks. I heard you have a vinyl of every Rosa Yemen 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 synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Detroit Cobras record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Peanut Butter Conspiracy,
Organ,
Derrick May,
Tears for Fears,
Althea and Donna,
Brass Construction,
Hashim,
Crime,
Lower 48,
Au Pairs,
Siglo XX,
Joyce Sims,
Section 25,
Peter and Kerry,
Intrusion,
H. Thieme,
Black Pus,
Orchestral Manoeuvres in the Dark,
Wally Richardson,
Kerrie Biddell,
Flash Fearless,
Bush Tetras,
Red Lorry Yellow Lorry,
The Pretty Things,
Lebanon Hanover,
Magazine,
Leonard Cohen,
Neil Young & Crazy Horse,
Banda Bassotti,
Mr. Review,
Jimmy McGriff,
Pulsallama,
Deutsch Amerikanische Freundschaft,
Richard Hell and the Voidoids,
Hoover,
Fifty Foot Hose,
Supertramp,
Unrelated Segments,
Colin Newman,
The Evens,
Susan Cadogan,
Delta 5,
Black Bananas,
Be Bop Deluxe,
Gastr Del Sol,
Piero Umiliani,
Smog,
Isaac Hayes,
Marc Almond,
Notorious Big And Bone Thugs,
The Raincoats,
Lizzy Mercier Descloux,
Minnie Riperton,
Sam Rivers,
Camouflage,
Mars,
The Birthday Party,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Ludus,
Aaron Thompson,
Suburban Knight,
Peter & Gordon,
Robert Wyatt,
Funkadelic, Funkadelic, Funkadelic, Funkadelic.
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.