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 Guatemala and from Cairo.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1969 to 1973.
I'm losing my edge.
To all the kids in Beijing and Hong Kong.
I'm losing my edge to the art-school Salvador 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 guitar sounds with much patience.
I was there when Robert Palmer 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 the Normal to the grunge 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 It's A Beautiful Day tracks. I heard you have a vinyl of every Oblivians 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 '50s cut and another box set from the '80s.
I hear you're buying a rhodes and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott-Heron & Brian Jackson record.
I hear that you and your band have sold your güiro and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minor Threat,
Hardrive,
Sun Ra Arkestra,
Das Ding,
Lou Reed & Metallica,
The Associates,
Matthew Bourne,
Mr. Review,
Richard Hell and the Voidoids,
The Golliwogs,
Scrapy,
John Cale,
Black Bananas,
Kauko Röyhkä ja Narttu,
Negative Approach,
Lower 48,
T.S.O.L.,
the Soft Cell,
The Cosmic Jokers,
Little Man,
Harmonia,
The Fortunes,
Boogie Down Productions,
Peter & Gordon,
Chris & Cosey,
Wings,
Magazine,
Public Image Ltd.,
Heavy D & The Boyz,
New Order,
Sam Rivers,
Ornette Coleman,
a-ha,
Lizzy Mercier Descloux,
Blossom Toes,
Babytalk,
Bobby Sherman,
Robert Görl,
The Five Americans,
Sun City Girls,
the Normal,
John Foxx,
Barclay James Harvest,
the Fania All-Stars,
Minutemen,
Japan,
Niagra,
The Saints,
Ash Ra Tempel,
London Community Gospel Choir,
The Alarm Clocks,
Davy DMX,
Joensuu 1685,
David Axelrod,
Curtis Mayfield,
The Cure,
Cabaret Voltaire,
De La Soul & Jungle Brothers,
Half Japanese,
Sonny Sharrock, Sonny Sharrock, Sonny Sharrock, Sonny Sharrock.
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.