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 United States and from Mumbai.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Spokane and Columbus.
I'm losing my edge to the art-school Mexico City 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 1983 at the first Bronski Beat practice in a loft in Brixton.
I was working on the güiro sounds with much patience.
I was there when Michael McDonald 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 Eden Ahbez to the dance kids.
I played it at the Spitz.
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 Pantaleimon. All the underground hits.
All Pet Shop Boys tracks. I heard you have a vinyl of every Traffic Nightmare record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a snare and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Lucky Dragons record.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Holt,
Drive Like Jehu,
KRS-One,
Amon Düül,
The Buckinghams,
Au Pairs,
Captain Beefheart & His Magic Band,
The Modern Lovers,
Second Layer,
The Litter,
Faust,
Bizarre Inc.,
Terrestrial Tones,
Anakelly,
Ultravox,
the Germs,
The Dave Clark Five,
Animal Collective,
Alison Limerick,
Nation of Ulysses,
Mo-Dettes,
T.S.O.L.,
Amazonics,
Art Ensemble Of Chicago,
Suburban Knight,
Gil Scott-Heron and Jamie xx,
The Dead C,
Pantaleimon,
The Alarm Clocks,
Heavy D & The Boyz,
Flipper,
Curtis Mayfield,
Sixth Finger,
Lizzy Mercier Descloux,
Funky Four + One,
Flash Fearless,
Dawn Penn,
Altered Images,
Scrapy,
Radiopuhelimet,
Electric Prunes,
Oppenheimer Analysis,
LL Cool J,
The Kinks,
Symarip,
Saccharine Trust,
Arthur Verocai,
Newcleus,
Audionom,
Kings Of Tomorrow,
X-Ray Spex,
Oneida,
The Doobie Brothers,
Marshall Jefferson,
Matthew Bourne,
Spoonie Gee,
Buzzcocks,
Nils Olav,
Pierre Henry,
The Walker Brothers,
Toni Rubio,
Slick Rick,
Tommy Roe, Tommy Roe, Tommy Roe, Tommy Roe.
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.