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 Micronesia and from Milan.
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 1961 to 1972.
I'm losing my edge.
To all the kids in New York and Toronto.
I'm losing my edge to the art-school Beijing 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 oboe 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 Robert Görl to the electroclash kids.
I played it at Cafe Wha.
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 Minutemen. All the underground hits.
All Buzzcocks tracks. I heard you have a vinyl of every Lou Christie 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 '90s.
I hear you're buying a snare and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Fortunes record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Orchestral Manoeuvres in the Dark,
Brand Nubian,
Inner City,
Drive Like Jehu,
Robert Görl,
World's Most,
Rufus Thomas,
CMW,
Oneida,
Stiv Bators,
The Count Five,
The Victims,
Vainqueur,
Basic Channel,
Whodini,
Sun Ra Arkestra,
Echo & the Bunnymen,
Goldenarms,
Nation of Ulysses,
Intrusion,
Harpers Bizarre,
Hashim,
Lizzy Mercier Descloux,
The Saints,
The Knickerbockers,
Colin Newman,
Brass Construction,
the Soft Cell,
Deepchord,
Joyce Sims,
Flash Fearless,
Kool G Rap & DJ Polo,
Robert Hood,
the Swans,
The Angels of Light,
Gastr Del Sol,
The J.B.'s,
Sex Pistols,
Babytalk,
Joensuu 1685,
Electric Prunes,
Underground Resistance,
London Community Gospel Choir,
The Gun Club,
Swell Maps,
Glambeats Corp.,
Brothers Johnson,
The Stooges,
The Associates,
Terror Squad Feat. Camron,
Lightning Bolt,
Chris Corsano,
Jacques Brel,
Pierre Henry,
Stereo Dub,
The Shadows of Knight,
The Cramps,
Lucky Dragons,
48th St. Collective,
Half Japanese,
Trumans Water,
H. Thieme,
Aural Exciters,
Magma, Magma, Magma, Magma.
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.