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 Romania and from Salvador.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 Johannesburg and Delhi.
I'm losing my edge to the art-school Winnipeg 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 spring reverb sounds with much patience.
I was there when David Bowie 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 Harmonia to the dance 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 Terrestrial Tones. All the underground hits.
All Pharoah Sanders tracks. I heard you have a vinyl of every Icehouse record on German import.
I heard that you have a white label of every seminal crunk 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 spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Kango’s Stein Massive 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?
Siglo XX,
The Sisters of Mercy,
Angels of Light & Akron/Family,
The Electric Prunes,
Blossom Toes,
Lower 48,
Barry Ungar,
London Community Gospel Choir,
Gang Starr,
Grey Daturas,
The Buckinghams,
T.S.O.L.,
Khruangbin,
Althea and Donna,
Mark Hollis,
Jesper Dahlbäck,
Derrick Morgan,
Infiniti,
The Standells,
Scratch Acid,
Saccharine Trust,
Prince Buster,
Eyeless In Gaza,
The Litter,
PIL,
Isaac Hayes,
These Immortal Souls,
48th St. Collective,
Rakim,
Quadrant,
Justin Hinds & The Dominoes,
Lalo Schifrin,
Pierre Henry,
Little Man,
Model 500,
Jeff Lynne,
Gong,
Buzzcocks,
Rufus Thomas,
Faust,
John Holt,
Echo & the Bunnymen,
Lee Hazlewood,
Sonny Sharrock,
The Detroit Cobras,
Radiohead,
Terry Callier,
the Normal,
The Trojans,
OOIOO,
New Order,
Eric B and Rakim,
Henry Cow,
Crooked Eye,
Masters at Work,
Bronski Beat,
Warsaw,
Lou Christie,
Minor Threat,
Average White Band,
Robert Görl,
Gabor Szabo,
Howard Jones,
Jacob Miller, Jacob Miller, Jacob Miller, Jacob Miller.
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.