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 Korea South and from Salvador.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Houston and Jakarta.
I'm losing my edge to the art-school Paris 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 organ sounds with much patience.
I was there when Michael McDonald 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 Skaos to the punk 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 John Holt. All the underground hits.
All Lalann tracks. I heard you have a vinyl of every Byron Stingily record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a clarinet and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a T.S.O.L. record.
I hear that you and your band have sold your oboe and bought a sitar.
I hear that you and your band have sold your sitar and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cabaret Voltaire,
Thee Headcoats,
The Victims,
Ludus,
Eurythmics,
The Cosmic Jokers,
Nirvana,
Scratch Acid,
Urselle,
Boredoms,
Richard Hell and the Voidoids,
KRS-One,
Curtis Mayfield,
Minny Pops,
the Human League,
The Pop Group,
Smog,
Organ,
Jeff Lynne,
Soulsonic Force,
John Cale,
Aural Exciters,
Japan,
Ronan,
Derrick May,
Reagan Youth,
Joy Division,
Joey Negro,
The Names,
Brass Construction,
Matthew Bourne,
Juan Atkins,
Flash Fearless,
Popol Vuh,
Angels of Light & Akron/Family,
Fear,
Gastr Del Sol,
Rites of Spring,
The Real Kids,
Buzzcocks,
Oblivians,
Harry Pussy,
Yellowson,
R.M.O.,
10cc,
Stiv Bators,
The Vogues,
The Zeros,
The Associates,
The Cramps,
Kaleidoscope,
Pagans,
the Fania All-Stars,
Babytalk,
The Trojans,
Liaisons Dangereuses,
Oneida,
Unrelated Segments,
Pussy Galore,
Major Organ And The Adding Machine,
Glambeats Corp.,
Alice Coltrane,
Spoonie Gee, Spoonie Gee, Spoonie Gee, Spoonie Gee.
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.