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 Finland and from New York.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Toronto and Philadelphia.
I'm losing my edge to the art-school Milan 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the arpeggiator 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 Kaleidoscope to the funk kids.
I played it at the Roxy.
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 ABC. All the underground hits.
All Hasil Adkins tracks. I heard you have a vinyl of every The Red Krayola record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a clarinet and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Stiv Bators record.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jacques Brel,
Jesper Dahlbäck,
Excepter,
Godley & Creme,
Easy Going,
Ohio Players,
Agitation Free,
Tim Buckley,
Gregory Isaacs,
Talk Talk,
Lalo Schifrin,
Absolute Body Control,
Red Lorry Yellow Lorry,
Charles Mingus,
Sam Rivers,
Sugar Minott,
Art Ensemble Of Chicago,
Bill Near,
Letta Mbulu,
Faust,
Ralphi Rosario,
John Foxx,
Kas Product,
Arab on Radar,
The Tremeloes,
Soft Machine,
Los Fastidios,
The Raincoats,
Kerri Chandler,
Richard Hell and the Voidoids,
James Chance & The Contortions,
Byron Stingily,
Fear,
Magma,
Kauko Röyhkä ja Narttu,
Grandmaster Flash and the Furious Five,
The Monochrome Set,
Bill Wells,
Mantronix,
Man Eating Sloth,
A Flock of Seagulls,
Rhythim Is Rhythim,
London Community Gospel Choir,
Peter and Kerry,
Public Enemy,
The Buckinghams,
The Smiths,
Joyce Sims,
Liaisons Dangereuses,
Funky Four + One,
Massinfluence,
Japan,
Joe Finger,
Amon Düül,
Stockholm Monsters,
Franke,
T.S.O.L.,
Marc Almond,
Gang Green,
The Smoke,
Clear Light,
Subhumans, Subhumans, Subhumans, Subhumans.
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.