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 Indonesia and from Houston.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Taipei and Beijing.
I'm losing my edge to the art-school Shanghai 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 Holger Czukay 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 Country Teasers to the funk 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 Bizarre Inc.. All the underground hits.
All Nirvana tracks. I heard you have a vinyl of every Simply Red record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a guitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a PIL record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
La Düsseldorf,
Minny Pops,
Joy Division,
Bobby Womack,
The Jesus and Mary Chain,
Faust,
Pete Rock & C.L. Smooth,
Ossler,
The Monks,
Model 500,
Grandmaster Flash,
Electric Light Orchestra,
R.M.O.,
Warsaw,
cv313,
Lou Reed & John Cale,
June Days,
Mad Mike,
Graham Central Station,
The Move,
Grey Daturas,
Ohio Players,
Wally Richardson,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Harmonia,
Scratch Acid,
Howard Jones,
Livin' Joy,
The West Coast Pop Art Experimental Band,
These Immortal Souls,
Nick Fraelich,
Tres Demented,
Sexual Harrassment,
Hardrive,
Technova,
Jacques Brel,
Eli Mardock,
Eyeless In Gaza,
The Smiths,
Dark Day,
Ultravox,
Kool Moe Dee,
Tubeway Army,
Porter Ricks,
Eden Ahbez,
Skaos,
Dawn Penn,
Manfred Mann's Earth Band,
Grauzone,
Jerry's Kids,
Hot Snakes,
Neu!,
Colin Newman,
Boz Scaggs,
10cc,
Johnny Osbourne,
The Five Americans,
Girls At Our Best!,
Japan,
Blancmange, Blancmange, Blancmange, Blancmange.
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.