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 United States and from Philadelphia.
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 Tehran and Seoul.
I'm losing my edge to the art-school Portland 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 spring reverb 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 Oneida to the grime kids.
I played it at the Troubador.
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 Yaz. All the underground hits.
All Junior Murvin tracks. I heard you have a vinyl of every Minor Threat record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a snare and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Derrick Morgan record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Anakelly,
New Order,
Malaria!,
Cecil Taylor,
Notorious BIG live in Amsterdam,
LL Cool J,
Bluetip,
K-Klass,
Ronnie Foster,
Erykah Badu,
The Mummies,
Bob Dylan,
Ultramagnetic MC's,
Carl Craig,
Lyres,
Minnie Riperton,
Pantytec,
The Divine Comedy,
The Standells,
Aswad,
Selector Dub Narcotic,
Cluster,
T. Rex,
June of 44,
Lungfish,
Sällskapet,
Jandek,
Electric Light Orchestra,
Newcleus,
Joe Smooth,
Mark Hollis,
The Doors,
The Alarm Clocks,
Banda Bassotti,
Ice-T,
The Black Dice,
Wasted Youth,
DJ Style,
The Dead C,
Wally Richardson,
Glenn Branca,
Black Moon,
Depeche Mode,
Index,
The Durutti Column,
Erasure,
Bobby Sherman,
Bill Wells,
John Foxx,
Kas Product,
Ultra Naté,
Silicon Teens,
Sunsets and Hearts,
It's A Beautiful Day,
Sister Nancy,
Circle Jerks,
Jesper Dahlback,
Boz Scaggs,
Visage,
Todd Terry,
Lou Reed,
In Retrospect,
The Smiths, The Smiths, The Smiths, The Smiths.
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.