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 China and from Delhi.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Columbus and Accra.
I'm losing my edge to the art-school Copenhagen 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 rhodes 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 Blake Baxter to the jazz kids.
I played it at the Troubador.
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 Human League. All the underground hits.
All Tears for Fears tracks. I heard you have a vinyl of every Lizzy Mercier Descloux 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 güiro and an oboe 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 theremin.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kerrie Biddell,
Kenny Larkin,
Drexciya,
Kerri Chandler,
Marmalade,
Gary Puckett & The Union Gap,
Tim Buckley,
Pagans,
Alice Coltrane,
The Moody Blues,
Susan Cadogan,
Fluxion,
Rowland S Howard / Lydia Lunch,
the Sonics,
Q65,
Vainqueur,
The Stooges,
Motorama,
Skriet,
Beasts of Bourbon,
Scott Walker + Sunn O))),
Duran Duran,
China Crisis,
X-102,
Barry Ungar,
James White and The Blacks,
Skaos,
Electric Prunes,
Archie Shepp,
the Normal,
Rotary Connection,
Rites of Spring,
Jerry's Kids,
Glenn Branca,
Sonny Sharrock,
Rekid,
The Fall,
Dead Boys,
The Vogues,
Alphaville,
Supertramp,
Leonard Cohen,
Davy DMX,
L. Decosne,
Gang Gang Dance,
Aural Exciters,
Nik Kershaw,
Barclay James Harvest,
Crash Course in Science,
Deutsch Amerikanische Freundschaft,
Morten Harket,
Sun City Girls,
Buzzcocks,
The Cramps,
Technova,
Von Mondo,
Dark Day,
Eyeless In Gaza,
Adolescents,
Isaac Hayes,
The Remains,
The Kinks, The Kinks, The Kinks, The Kinks.
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.