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 Peru and from Copenhagen.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Mumbai and Glasgow.
I'm losing my edge to the art-school Lyon 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 guitar sounds with much patience.
I was there when Tom Verlaine 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 Matthew Bourne to the disco kids.
I played it at the Hacienda.
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 the Bar-Kays. All the underground hits.
All Eric B and Rakim tracks. I heard you have a vinyl of every Sex Pistols record on German import.
I heard that you have a white label of every seminal jazz 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 sitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Sound record.
I hear that you and your band have sold your marimba and bought a 808.
I hear that you and your band have sold your 808 and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Pop Group,
Slave,
Peter & Gordon,
The Monks,
Zero Boys,
FM Einheit,
Rowland S Howard / Lydia Lunch,
Wally Richardson,
Erykah Badu,
The Men They Couldn't Hang,
New Age Steppers,
Tom Boy,
Magma,
Hot Snakes,
the Soft Cell,
K-Klass,
Warsaw,
Radiopuhelimet,
The Move,
Barry Ungar,
T.S.O.L.,
Lyres,
UT,
Second Layer,
Soul Sonic Force,
Magazine,
Peter Gordon & Love of Life Orchestra,
Yazoo,
Siouxsie and the Banshees,
Nation of Ulysses,
Bush Tetras,
Minnie Riperton,
Con Funk Shun,
Alton Ellis,
Soft Cell,
Rapeman,
Yaz,
The Jesus and Mary Chain,
The Leaves,
The Fire Engines,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
a-ha,
Sun City Girls,
Marmalade,
Siglo XX,
The Doobie Brothers,
Agitation Free,
X-Ray Spex,
Sonny Sharrock,
Excepter,
Mission of Burma,
Danielle Patucci,
Boogie Down Productions,
Black Sheep,
Mars,
Thinking Fellers Union Local 282,
World's Most,
Boz Scaggs,
the Normal,
The Cure,
Shuggie Otis,
The Tremeloes, The Tremeloes, The Tremeloes, The Tremeloes.
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.