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 San Marino and from Sao Paulo.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1972.
I'm losing my edge.
To all the kids in Beijing and Houston.
I'm losing my edge to the art-school Stockholm 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 Nile Rodgers 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 Skriet to the funk 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 John Cale. All the underground hits.
All Tommy Roe tracks. I heard you have a vinyl of every Amon Düül record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a güiro and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Crime record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cabaret Voltaire,
the Swans,
Scratch Acid,
Camouflage,
Bad Manners,
Heavy D & The Boyz,
A Flock of Seagulls,
Interpol,
New Order,
Yazoo,
The Smoke,
Franke,
Depeche Mode,
Deakin,
Girls At Our Best!,
Flamin' Groovies,
Television,
DJ Style,
Nick Fraelich,
PIL,
The Kinks,
Aural Exciters,
The Royal Family And The Poor,
EPMD,
Black Bananas,
Gang Starr,
Scan 7,
Rapeman,
Bang On A Can,
Au Pairs,
The Dirtbombs,
The Sound,
The Tremeloes,
London Community Gospel Choir,
The Cowsills,
Stockholm Monsters,
Judy Mowatt,
Letta Mbulu,
Television Personalities,
Monks,
Joey Negro,
FM Einheit,
Country Teasers,
Terror Squad Feat. Camron,
The Remains,
Make Up,
Crispy Ambulance,
Roger Hodgson,
Rhythm & Sound,
Andrew Hill,
Yusef Lateef,
Strawberry Alarm Clock,
Inner City,
Angry Samoans,
Aswad,
Electric Prunes,
Justin Hinds & The Dominoes,
Soul II Soul,
Peter & Gordon,
Jerry Gold Smith,
Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo.
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.