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 Guinea and from Winnipeg.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1979.
I'm losing my edge.
To all the kids in Jakarta and Columbus.
I'm losing my edge to the art-school Portland 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 synthesizer sounds with much patience.
I was there when Robert Palmer 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 Electric Light Orchestra to the crunk 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 Half Japanese. All the underground hits.
All Sound Behaviour tracks. I heard you have a vinyl of every Marine Girls record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Tomorrow record.
I hear that you and your band have sold your mellotron and bought an organ.
I hear that you and your band have sold your organ and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lungfish,
Marine Girls,
Excepter,
Jeff Mills,
The Cosmic Jokers,
the Slits,
PIL,
The Pretty Things,
Robert Görl,
Brass Construction,
Orchestral Manoeuvres in the Dark,
Stetsasonic,
Maurizio,
Hasil Adkins,
Scion,
Strawberry Alarm Clock,
Avey Tare's Slasher Flicks,
Thee Headcoats,
Althea and Donna,
Lower 48,
Erasure,
Masters at Work,
Josef K,
The Fire Engines,
B.T. Express,
Scratch Acid,
Section 25,
The Remains,
Arthur Verocai,
Aural Exciters,
The Gap Band,
Ultra Naté,
Shoche,
Black Flag,
Neil Young,
Circle Jerks,
The Happenings,
David Axelrod,
Kas Product,
Symarip,
The Martian,
Nirvana,
Alton Ellis,
Warsaw,
Can,
Kaleidoscope,
Sticky Fingaz feat. Raekwon,
Siouxsie and the Banshees,
Susan Cadogan,
The Sonics,
Al Stewart,
Ultramagnetic MC's,
Lou Reed & John Cale,
Gong,
Swans,
Glambeats Corp.,
Pharoah Sanders,
The Mojo Men,
Wire,
Clear Light,
Buzzcocks,
Electric Prunes, Electric Prunes, Electric Prunes, Electric Prunes.
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.