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 Burkina and from Hong Kong.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1977.
I'm losing my edge.
To all the kids in New York and Portland.
I'm losing my edge to the art-school Philadelphia 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 chamberlin 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 Michelle Simonal to the disco kids.
I played it at the Spitz.
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 Skarface. All the underground hits.
All Peter Gordon & Love of Life Orchestra tracks. I heard you have a vinyl of every Radiohead record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s 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 Michelle Simonal record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Pop Group,
Franke,
Heavy D & The Boyz,
Lakeside,
Guru Guru,
PIL,
Underground Resistance,
Leonard Cohen,
The Invisible,
Max Romeo,
Black Flag,
Youth Brigade,
Wolf Eyes,
Matthew Halsall,
Althea and Donna,
Louis and Bebe Barron,
Byron Stingily,
The Fuzztones,
Eddi Front,
Moebius,
Lou Reed & John Cale,
Traffic Nightmare,
Circle Jerks,
Vladislav Delay,
Rosa Yemen,
Skaos,
The Buckinghams,
Howard Jones,
Massinfluence,
The Smiths,
The Moleskins,
Magazine,
Jeff Mills,
Josef K,
Delta 5,
The Stooges,
The Gun Club,
CMW,
the Soft Cell,
The Alarm Clocks,
The Saints,
Chris & Cosey,
Sad Lovers and Giants,
Goldenarms,
Bill Near,
Masters at Work,
A Certain Ratio,
Peter and Kerry,
Shoche,
Mary Jane Girls,
Intrusion,
Soft Cell,
World's Most,
Connie Case,
Lucky Dragons,
The Real Kids,
the Association,
Letta Mbulu,
Sonny Sharrock,
AZ,
Gian Franco Pienzio, Gian Franco Pienzio, Gian Franco Pienzio, Gian Franco Pienzio.
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.