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 Paraguay and from Beijing.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1967 to 1975.
I'm losing my edge.
To all the kids in Houston and Jakarta.
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 linndrum 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 Bobby Sherman to the disco kids.
I played it at the 40 Watt.
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 Spandau Ballet. All the underground hits.
All A Flock of Seagulls tracks. I heard you have a vinyl of every Pere Ubu 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 '60s cut and another box set from the '80s.
I hear you're buying a linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Roxette record.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stetsasonic,
The Pop Group,
Bronski Beat,
F. McDonald,
The Martian,
Minor Threat,
Chris Corsano,
The Fall,
Amon Düül II,
Roger Hodgson,
Danielle Patucci,
The Neon Judgement,
James White and The Blacks,
Blake Baxter,
kango's stein massive,
Barry Ungar,
Echo & the Bunnymen,
Lizzy Mercier Descloux,
Unrelated Segments,
Quantec,
Eyeless In Gaza,
Nas,
Quadrant,
N.O.R.E. Featuring Pharrell,
Mandrill,
Lyres,
Prince Buster,
Eurythmics,
Drexciya,
The Associates,
Bobbi Humphrey,
The Buckinghams,
Faust,
Richard Hell and the Voidoids,
The Cramps,
Radio Birdman,
Donald Byrd,
Joe Finger,
Y Pants,
The Real Kids,
Cabaret Voltaire,
Spandau Ballet,
Fifty Foot Hose,
Hashim,
Gastr Del Sol,
Electric Light Orchestra,
Bobby Byrd,
The Smoke,
Joe Smooth,
World's Most,
The Fire Engines,
Alice Coltrane,
Blossom Toes,
Stockholm Monsters,
Model 500,
a-ha,
The Grass Roots,
The Doors,
Roy Ayers Ubiquity,
Arthur Verocai,
Janne Schatter, Janne Schatter, Janne Schatter, Janne Schatter.
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.