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 Tunisia and from Tokyo.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Bremen and Columbus.
I'm losing my edge to the art-school Lyon 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 Tom Verlaine 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 Quantec to the dance 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 Thompson Twins. All the underground hits.
All Deakin tracks. I heard you have a vinyl of every Country Joe & The Fish 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 '70s cut and another box set from the '70s.
I hear you're buying a guitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Ultramagnetic MC's record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb 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 Standells,
Sister Nancy,
Rosa Yemen,
JFA,
Chris Corsano,
Tomorrow,
In Retrospect,
T.S.O.L.,
The United States of America,
The Tremeloes,
Arthur Verocai,
Roy Ayers,
Shuggie Otis,
Lizzy Mercier Descloux,
The Remains,
Neu!,
Alphaville,
Adolescents,
Buzzcocks,
Sparks,
Ultravox,
Aural Exciters,
Flash Fearless,
E-Dancer,
Severed Heads,
The Happenings,
Aswad,
DeepChord presents Echospace,
FM Einheit,
Main Source,
Mission of Burma,
Robert Hood,
Section 25,
Aaron Thompson,
Yaz,
Au Pairs,
Nick Fraelich,
Excepter,
Sarah Menescal,
Wighnomy Brothers & Robag Wruhme,
The Smiths,
Colin Newman,
Rotary Connection,
Howard Jones,
The Kinks,
Fort Wilson Riot,
Jimmy McGriff,
Hot Snakes,
Simply Red,
Grey Daturas,
Angry Samoans,
Y Pants,
The Men They Couldn't Hang,
8 Eyed Spy,
Bobby Sherman,
The Sound,
Gian Franco Pienzio,
Alice Coltrane,
Terrestrial Tones,
Kerri Chandler,
Sunsets and Hearts,
Michelle Simonal, Michelle Simonal, Michelle Simonal, Michelle Simonal.
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.