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 Slovakia and from Columbus.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Copenhagen and Stockholm.
I'm losing my edge to the art-school Johannesburg 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 1978 at the first Visage practice in a loft in London.
I was working on the spring reverb 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 Mo-Dettes to the jazz 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 Roxy Music. All the underground hits.
All Y Pants tracks. I heard you have a vinyl of every The Raincoats record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Sad Lovers and Giants record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Erasure,
Johnny Clarke,
Animal Collective,
Amazonics,
The Fuzztones,
Donny Hathaway,
Kenny Larkin,
DNA,
Alice Coltrane,
The Remains,
Ossler,
Prince Buster,
Young Marble Giants,
Lou Christie,
Can,
Gerry Rafferty,
Visage,
The New Christs,
Moss Icon,
Jeff Lynne,
Letta Mbulu,
Soulsonic Force,
Yazoo,
Japan,
Dorothy Ashby,
Eyeless In Gaza,
Crime,
The Doors,
Sixth Finger,
Marmalade,
Magazine,
The Pop Group,
Slick Rick,
Rotary Connection,
Camron Feat. Memphis Bleek And Beenie Seigel,
Brass Construction,
Althea and Donna,
Schoolly D,
FM Einheit,
The Fire Engines,
Au Pairs,
Deadbeat,
The Kinks,
X-Ray Spex,
Nico,
The Associates,
Lower 48,
X-102,
Section 25,
Masters at Work,
Pierre Henry,
T. Rex,
Strawberry Alarm Clock,
Motorama,
Whodini,
Lucky Dragons,
Duran Duran,
Maurizio,
Unwound,
Stetsasonic,
The Searchers,
Q65,
Mark Hollis,
Rakim, Rakim, Rakim, Rakim.
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.