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 Singapore and from Manila.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1976.
I'm losing my edge.
To all the kids in Copenhagen and Shanghai.
I'm losing my edge to the art-school Sao Paulo 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 theremin 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 The Barracudas to the techno kids.
I played it at the Troubador.
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 Eli Mardock. All the underground hits.
All Goldenarms tracks. I heard you have a vinyl of every Deadbeat record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Flamin' Groovies record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
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,
The Detroit Cobras,
John Lydon,
Black Moon,
Ice-T,
Chrome,
In Retrospect,
Marmalade,
K-Klass,
MDC,
Colin Newman,
Terry Callier,
Yaz,
Moby Grape,
Skriet,
Shoche,
Major Organ And The Adding Machine,
Prince Buster,
The Stooges,
Beasts of Bourbon,
Pierre Henry,
Nico,
Carl Craig,
Be Bop Deluxe,
Steve Hackett,
Teenage Jesus and the Jerks,
Peter Gordon & Love of Life Orchestra,
Quadrant,
Pagans,
Mars,
The Peanut Butter Conspiracy,
Crime,
Schoolly D,
The Young Rascals,
The Smiths,
Grandmaster Flash,
Bizarre Inc.,
Agitation Free,
The Names,
The Move,
David McCallum,
Easy Going,
Sight & Sound,
Harry Pussy,
Deutsch Amerikanische Freundschaft,
Khruangbin,
Ultimate Spinach,
Sun Ra Arkestra,
Girls At Our Best!,
Bootsy's Rubber Band,
T. Rex,
Dead Boys,
Marvin Gaye,
Ludus,
Hot Snakes,
Gil Scott-Heron & Brian Jackson,
Thee Headcoats,
Lungfish,
Harmonia,
The Doobie Brothers,
Brick,
Boogie Down Productions, Boogie Down Productions, Boogie Down Productions, Boogie Down Productions.
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.