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 Croatia and from Copenhagen.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Houston and Woodstock.
I'm losing my edge to the art-school New York 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 at the first Suicide practice in a loft in New York.
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 Harry Pussy 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 Interpol. All the underground hits.
All Roy Ayers Ubiquity tracks. I heard you have a vinyl of every Swans record on German import.
I heard that you have a white label of every seminal dance 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 chamberlin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Roger Hodgson record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Five Americans,
Niagra,
Drexciya,
Saccharine Trust,
Rhythm & Sound,
The Walker Brothers,
Don Cherry,
The Doobie Brothers,
Al Stewart,
Circle Jerks,
Joe Smooth,
Eddi Front,
James Chance & The Contortions,
Tommy Roe,
Alphaville,
Roxy Music,
The Durutti Column,
Yazoo,
Idris Muhammad,
Skaos,
Panda Bear,
Strawberry Alarm Clock,
8 Eyed Spy,
Essential Logic,
Gregory Isaacs,
Siglo XX,
In Retrospect,
Arthur Verocai,
Boredoms,
The Cure,
Dead Boys,
Jeff Mills,
Con Funk Shun,
Graham Central Station,
Quadrant,
Jacques Brel,
the Germs,
Livin' Joy,
Marcia Griffiths,
Public Image Ltd.,
Ken Boothe,
Eden Ahbez,
Unrelated Segments,
Mad Mike,
Zapp,
Jacob Miller,
Amon Düül II,
Charles Mingus,
Deutsch Amerikanische Freundschaft,
48th St. Collective,
Masters at Work,
Stetsasonic,
Mantronix,
Rapeman,
John Foxx,
The Gun Club,
Jesper Dahlback,
The Jesus and Mary Chain,
the Slits,
Soft Cell,
Kings Of Tomorrow,
Stockholm Monsters,
Sparks, Sparks, Sparks, Sparks.
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.