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 Jamaica and from Paris.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Lille and Lille.
I'm losing my edge to the art-school Madrid 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 guitar 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 X-101 to the rock kids.
I played it at Cafe Wha.
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 Ossler. All the underground hits.
All The Last Poets tracks. I heard you have a vinyl of every Avey Tare & Kría Brekkan 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 '70s cut and another box set from the '80s.
I hear you're buying a snare and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Gories record.
I hear that you and your band have sold your snare and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brick,
Bobbi Humphrey,
Derrick Morgan,
Terrestrial Tones,
Absolute Body Control,
Urselle,
The Slackers,
Cameo,
Hasil Adkins,
Bill Wells,
Bobby Sherman,
Big Daddy Kane,
The Alarm Clocks,
Art Ensemble Of Chicago,
Maurizio,
Pulsallama,
Lee Hazlewood,
The Last Poets,
Goldenarms,
Babytalk,
Johnny Clarke,
Visionaries,LMNO, T- Love & Iriscience,
Dead Boys,
Stiv Bators,
The Fugs,
The Misunderstood,
the Normal,
The Fortunes,
The Invisible,
The Cramps,
Monolake,
John Lydon,
Arab on Radar,
Suicide,
The Stooges,
Anthony Braxton,
Little Man,
Hardrive,
Michelle Simonal,
Laurel Aitken,
Piero Umiliani,
The Offenders,
Faust,
Qualms,
DNA,
The Modern Lovers,
Liaisons Dangereuses,
Stockholm Monsters,
Judy Mowatt,
The Gladiators,
Susan Cadogan,
The Electric Prunes,
The Raincoats,
Mr. Review,
Ponytail,
Au Pairs,
Vaughan Mason & Crew,
Bizarre Inc.,
Rowland S Howard / Lydia Lunch,
The United States of America,
Marc Almond,
Bill Near,
The Pop Group,
Soulsonic Force,
Thompson Twins, Thompson Twins, Thompson Twins, Thompson Twins.
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.