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 India and from Beijing.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1973.
I'm losing my edge.
To all the kids in Bremen and Tokyo.
I'm losing my edge to the art-school Lille 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 synthesizer sounds with much patience.
I was there when Donald Fagen 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 Chris & Cosey to the dance 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 Crime. All the underground hits.
All Charles Mingus tracks. I heard you have a vinyl of every Ultravox 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 '70s cut and another box set from the '80s.
I hear you're buying a linndrum and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a cv313 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?
Aswad,
The Dirtbombs,
Skriet,
Visage,
Glambeats Corp.,
The Pop Group,
Depeche Mode,
Scott Walker,
Anthony Braxton,
Wire,
Sex Pistols,
Bobby Sherman,
Quando Quango,
Pulsallama,
Television Personalities,
Harpers Bizarre,
Nas,
Yellowson,
Marc Almond,
The Peanut Butter Conspiracy,
Andrew Hill,
Soft Machine,
Tubeway Army,
The Toasters,
Lou Reed & John Cale,
Blancmange,
Radiopuhelimet,
Jacques Brel,
Dark Day,
The Martian,
Robert Hood,
The Buckinghams,
Mark Hollis,
Deutsch Amerikanische Freundschaft,
KRS-One,
Liaisons Dangereuses,
Camouflage,
Matthew Bourne,
Gregory Isaacs,
Thompson Twins,
Ten City,
the Slits,
Nirvana,
Janne Schatter,
ABC,
Lower 48,
Junior Murvin,
the Soft Cell,
Main Source,
Smog,
Fifty Foot Hose,
These Immortal Souls,
Section 25,
Crispy Ambulance,
The Fall,
Motorama,
Scion,
Silicon Teens,
Todd Rundgren,
The Leaves,
Steve Hackett,
In Retrospect, In Retrospect, In Retrospect, In Retrospect.
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.