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 Micronesia and from Bremen.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 Paris and Beijing.
I'm losing my edge to the art-school London 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 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 Fatback Band to the disco 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 Shuggie Otis. All the underground hits.
All Jesper Dahlbäck 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 disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an oboe and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Orchestral Manoeuvres in the Dark record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Standells,
Mandrill,
Erasure,
Roger Hodgson,
The Wake,
Sandy B,
Alice Coltrane,
The Blackbyrds,
Archie Shepp,
Manfred Mann's Earth Band,
Loose Ends,
the Normal,
Scratch Acid,
Delta 5,
Joe Smooth,
Urselle,
Tropical Tobacco,
Kerrie Biddell,
Intrusion,
Fluxion,
The Fall,
Sunsets and Hearts,
The Chocolate Watch Band,
Electric Prunes,
Bluetip,
Brand Nubian,
Lebanon Hanover,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Jandek,
Ralphi Rosario,
Drexciya,
John Lydon,
Ajijia Myrayebe,
Moebius,
Tubeway Army,
Sister Nancy,
Lizzy Mercier Descloux,
The Star Department,
Kings Of Tomorrow,
X-102,
Thee Headcoats,
Sugar Minott,
R.M.O.,
Pere Ubu,
Sight & Sound,
Piero Umiliani,
Byron Stingily,
Bronski Beat,
Bad Manners,
Jerry's Kids,
Index,
Pussy Galore,
Arab on Radar,
Avey Tare's Slasher Flicks,
Terry Callier,
Angry Samoans,
These Immortal Souls,
World's Most,
Gerry Rafferty,
Spandau Ballet,
Barbara Tucker,
Marvin Gaye,
LL Cool J, LL Cool J, LL Cool J, LL Cool J.
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.