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 Slovenia and from Johannesburg.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Woodstock and Sao Paulo.
I'm losing my edge to the art-school Cairo 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 güiro 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 The Saints to the punk kids.
I played it at Trash.
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 Angry Samoans. All the underground hits.
All Marvin Gaye tracks. I heard you have a vinyl of every Sunsets and Hearts 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 mellotron and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Average White Band record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The United States of America,
Guru Guru,
Mad Mike,
Sun City Girls,
Absolute Body Control,
The Angels of Light,
Ten City,
Lou Reed & Metallica,
Boredoms,
Boogie Down Productions,
Gil Scott-Heron & Brian Jackson,
Magazine,
Eurythmics,
Fluxion,
Mark Hollis,
Bad Manners,
Agitation Free,
Arthur Verocai,
Eric Dolphy,
Mission of Burma,
The Evens,
X-101,
Model 500,
Cybotron,
Mary Jane Girls,
Bootsy's Rubber Band,
Tropical Tobacco,
Wasted Youth,
Johnny Osbourne,
Colin Newman,
Harpers Bizarre,
The Slits,
LL Cool J,
Black Bananas,
The Seeds,
Marc Romboy vs. Booka Shade,
David McCallum,
The New Christs,
ABC,
the Fania All-Stars,
Pet Shop Boys,
Lightning Bolt,
Adolescents,
The Remains,
10cc,
the Association,
Radiopuhelimet,
The Monochrome Set,
Kas Product,
Rotary Connection,
Japan,
Art Ensemble Of Chicago,
Gary Puckett & The Union Gap,
The American Breed,
The Gladiators,
Y Pants,
Ken Boothe,
the Bar-Kays,
Donny Hathaway,
The Red Krayola,
Grandmaster Flash,
Richard Hell and the Voidoids, Richard Hell and the Voidoids, Richard Hell and the Voidoids, Richard Hell and the Voidoids.
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.