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 Lebanon and from Lagos.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Sao Paulo and Columbus.
I'm losing my edge to the art-school Halifax 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 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 A Flock of Seagulls to the disco 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 Television Personalities. All the underground hits.
All Charles Mingus tracks. I heard you have a vinyl of every Marc Almond 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 '50s cut and another box set from the '90s.
I hear you're buying a harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Jerry's Kids record.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Vladislav Delay,
The Neon Judgement,
The Wake,
Carl Craig,
DNA,
Altered Images,
Urselle,
Ultra Naté,
Swans,
Janne Schatter,
Eve St. Jones,
Jeff Mills,
Subhumans,
Porter Ricks,
Simply Red,
The Busters,
Tubeway Army,
Chris Corsano,
Cluster,
L. Decosne,
The Slackers,
Reuben Wilson,
Fat Boys,
Adolescents,
Hasil Adkins,
Mission of Burma,
Soft Cell,
CMW,
Grandmaster Flash and the Furious Five,
Maleditus Sound,
X-Ray Spex,
Minor Threat,
The Detroit Cobras,
Kings Of Tomorrow,
Mary Jane Girls,
Alphaville,
The Modern Lovers,
Slave,
Nick Fraelich,
Bronski Beat,
Dave Gahan,
DJ Style,
Ohio Players,
Essential Logic,
Rites of Spring,
Gregory Isaacs,
Funkadelic,
Livin' Joy,
Mad Mike,
Bang on a Can All-Stars,
Jacques Brel,
Laurel Aitken,
The J.B.'s,
Brass Construction,
Todd Terry,
a-ha,
London Community Gospel Choir,
Rhythm & Sound,
Peter Gordon & Love of Life Orchestra,
The Sound,
Robert Görl,
Half Japanese,
Minutemen,
Kerri Chandler, Kerri Chandler, Kerri Chandler, Kerri Chandler.
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.