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 Guatemala and from Lyon.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Shanghai and Beijing.
I'm losing my edge to the art-school Toronto 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 snare 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 Monolake to the electroclash kids.
I played it at the Hacienda.
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 Sam Rivers. All the underground hits.
All Marc Almond tracks. I heard you have a vinyl of every Swell Maps 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 '70s.
I hear you're buying a chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Durutti Column record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Velvet Underground,
Girls At Our Best!,
Severed Heads,
Notorious Big And Bone Thugs,
Graham Central Station,
Roy Ayers Ubiquity,
Avey Tare & Kría Brekkan,
Deutsch Amerikanische Freundschaft,
The Doors,
Nas,
A Certain Ratio,
Essential Logic,
Matthew Halsall,
K-Klass,
the Association,
Kevin Saunderson,
Barry Ungar,
Bush Tetras,
MDC,
The Leaves,
Bauhaus,
Eddi Front,
Nik Kershaw,
Jimmy McGriff,
Henry Cow,
Pierre Henry,
Letta Mbulu,
Alice Coltrane,
Howard Jones,
Q65,
Sly & The Family Stone,
Silicon Teens,
DeepChord presents Echospace,
Icehouse,
The Motions,
Brass Construction,
Vladislav Delay,
Jeru the Damaja,
The Move,
Ohio Players,
Deakin,
Lonnie Liston Smith,
Nick Fraelich,
Dave Gahan,
Tim Buckley,
The Mighty Diamonds,
The Moody Blues,
Sällskapet,
Arab on Radar,
Thinking Fellers Union Local 282,
Half Japanese,
Spoonie Gee,
Fugazi,
Slick Rick,
Supertramp,
Godley & Creme,
The Cosmic Jokers,
H. Thieme,
ABBA,
James Chance & The Contortions,
Marmalade,
Cameo,
DNA, DNA, DNA, DNA.
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.