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 Nigeria and from Bremen.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1968 to 1971.
I'm losing my edge.
To all the kids in New York and Glasgow.
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 linndrum 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 Neil Young & Crazy Horse to the jazz kids.
I played it at the Astoria.
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 The Motions. All the underground hits.
All The United States of America tracks. I heard you have a vinyl of every Suburban Knight record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Pet Shop Boys record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grandmaster Flash,
The Peanut Butter Conspiracy,
Aaron Thompson,
Young Marble Giants,
Bizarre Inc.,
The Selecter,
Lakeside,
The Dirtbombs,
A Flock of Seagulls,
Avey Tare,
Dave Gahan,
DNA,
Gabor Szabo,
Sarah Menescal,
Franke,
cv313,
Pantytec,
Cal Tjader,
Moss Icon,
Deutsch Amerikanische Freundschaft,
The Moleskins,
Barclay James Harvest,
La Düsseldorf,
Adolescents,
Country Teasers,
Notorious BIG live in Amsterdam,
Gian Franco Pienzio,
Bauhaus,
B.T. Express,
X-Ray Spex,
Robert Wyatt,
The Velvet Underground,
James White and The Blacks,
Black Pus,
Tommy Roe,
MDC,
Matthew Bourne,
Royal Trux,
The American Breed,
Grandmaster Flash and the Furious Five,
Pussy Galore,
Yellowson,
Justin Hinds & The Dominoes,
Roxy Music,
Theoretical Girls,
Dual Sessions,
Rahsaan Roland Kirk,
Blossom Toes,
Ronan,
KRS-One,
Mary Jane Girls,
R.M.O.,
Ice-T,
Black Flag,
The Neon Judgement,
Alphaville,
The Blackbyrds,
Outsiders,
Radiopuhelimet,
Amazonics,
Röyhkä ja Rättö ja Lehtisalo,
June Days,
Terrestrial Tones,
Dawn Penn, Dawn Penn, Dawn Penn, Dawn Penn.
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.