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 Luxembourg and from Philadelphia.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1964 to 1975.
I'm losing my edge.
To all the kids in Paris and Philadelphia.
I'm losing my edge to the art-school Philadelphia 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 organ sounds with much patience.
I was there when David Bowie 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 Ohio Players 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 Joy Division. All the underground hits.
All The Chocolate Watch Band tracks. I heard you have a vinyl of every Harpers Bizarre record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a snare and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Zeros record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Vainqueur,
Lebanon Hanover,
The Doors,
Harry Pussy,
Marvin Gaye,
Beasts of Bourbon,
Section 25,
Eric Copeland,
Radiopuhelimet,
Throbbing Gristle,
Sad Lovers and Giants,
Freddie Wadling,
B.T. Express,
Roger Hodgson,
Drive Like Jehu,
Lalo Schifrin,
Rhythim Is Rhythim,
Model 500,
Gary Puckett & The Union Gap,
Bobby Byrd,
Judy Mowatt,
Rotary Connection,
LL Cool J,
Guru Guru,
Marmalade,
Lee Hazlewood,
Symarip,
Minutemen,
Curtis Mayfield,
Grauzone,
Notorious Big And Bone Thugs,
Gerry Rafferty,
The Red Krayola,
Marshall Jefferson,
Pulsallama,
Groovy Waters,
Angels of Light & Akron/Family,
The Wake,
Sugar Minott,
Jerry Gold Smith,
Dawn Penn,
Skaos,
Rod Modell,
Lungfish,
Flash Fearless,
Alison Limerick,
New Order,
Depeche Mode,
KRS-One,
Peter and Kerry,
Joe Smooth,
Althea and Donna,
Little Man,
Brothers Johnson,
H. Thieme,
Johnny Clarke,
Sunsets and Hearts,
Black Pus,
Sixth Finger,
The Skatalites,
Subhumans,
Jacob Miller, Jacob Miller, Jacob Miller, Jacob Miller.
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.