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 Netherlands and from Lille.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Lyon and Tokyo.
I'm losing my edge to the art-school Houston 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 harpsichord sounds with much patience.
I was there when Holger Czukay 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 Average White Band to the punk 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 Ponytail. All the underground hits.
All Marc Almond tracks. I heard you have a vinyl of every Rakim record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Aaron Thompson record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roxette,
Gerry Rafferty,
Main Source,
Bootsy's Rubber Band,
Marine Girls,
Lonnie Liston Smith,
the Soft Cell,
Chris Corsano,
World's Most,
Fluxion,
Pantytec,
B.T. Express,
Gil Scott-Heron & Brian Jackson,
Mr. Review,
Country Joe & The Fish,
DJ Style,
This Heat,
Jawbox,
Intrusion,
The Doobie Brothers,
Susan Cadogan,
Cabaret Voltaire,
Barry Ungar,
Sex Pistols,
The Move,
Das Ding,
Monolake,
Albert Ayler,
Babytalk,
Bizarre Inc.,
Sun Ra,
a-ha,
The Remains,
Kool Moe Dee,
Stockholm Monsters,
The J.B.'s,
Sarah Menescal,
Amon Düül,
Gang Gang Dance,
The Selecter,
Boredoms,
Darondo,
DeepChord presents Echospace,
K-Klass,
Popol Vuh,
Robert Wyatt,
The Moleskins,
Marvin Gaye,
Joensuu 1685,
Joe Finger,
Cameo,
Electric Prunes,
Iggy Pop,
DJ Sneak,
The Peanut Butter Conspiracy,
Juan Atkins,
Bill Near,
Niagra,
Unrelated Segments,
The Men They Couldn't Hang,
Dark Day,
The Zeros,
Graham Central Station, Graham Central Station, Graham Central Station, Graham Central Station.
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.