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 Comoros and from Stockholm.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1976.
I'm losing my edge.
To all the kids in Lyon and Calgary.
I'm losing my edge to the art-school Taipei 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 marimba 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 Bauhaus to the disco 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 Oneida. All the underground hits.
All Funkadelic tracks. I heard you have a vinyl of every Circle Jerks record on German import.
I heard that you have a white label of every seminal disco 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 rhodes and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Rapeman record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Iggy Pop,
Deadbeat,
Ponytail,
Can,
Johnny Clarke,
Thinking Fellers Union Local 282,
Nirvana,
Boogie Down Productions,
Avey Tare's Slasher Flicks,
Desert Stars,
Susan Cadogan,
Supertramp,
Cymande,
Echospace,
Fatback Band,
Sunsets and Hearts,
The Dirtbombs,
Pulsallama,
Pole,
The Smoke,
Tears for Fears,
Masters at Work,
Erasure,
The Jesus and Mary Chain,
Guru Guru,
The Evens,
Peter Gordon & Love of Life Orchestra,
Flash Fearless,
Archie Shepp,
Colin Newman,
Rod Modell,
AZ,
Los Fastidios,
Jesper Dahlback,
Sixth Finger,
The Red Krayola,
The Fuzztones,
Fifty Foot Hose,
David McCallum,
L. Decosne,
Ultravox,
June Days,
Dead Boys,
Section 25,
Roxette,
Inner City,
Alison Limerick,
T. Rex,
Pussy Galore,
The Slackers,
Little Man,
Kauko Röyhkä ja Narttu,
The Moody Blues,
Bobby Byrd,
Second Layer,
Siglo XX,
The Durutti Column,
The Blackbyrds,
The Associates,
Barry Ungar,
Maleditus Sound,
The New Christs,
Bootsy Collins,
Nils Olav,
Outsiders, Outsiders, Outsiders, Outsiders.
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.