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 Cyprus and from Madrid.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1978.
I'm losing my edge.
To all the kids in Lagos and Stockholm.
I'm losing my edge to the art-school Shanghai 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 1976 at the first Chic practice in a loft in New York.
I was working on the arpeggiator sounds with much patience.
I was there when Robert Palmer 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 The Sonics to the jazz kids.
I played it at the Astoria.
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 Minor Threat. All the underground hits.
All The Smoke tracks. I heard you have a vinyl of every Au Pairs record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Strawberry Alarm Clock record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bronski Beat,
Gary Puckett & The Union Gap,
Black Bananas,
Ash Ra Tempel,
a-ha,
X-101,
Al Stewart,
Lonnie Liston Smith,
Spandau Ballet,
Fatback Band,
Black Flag,
Bootsy's Rubber Band,
Wighnomy Brothers & Robag Wruhme,
Patti Smith,
Godley & Creme,
Justin Hinds & The Dominoes,
Heaven 17,
Marine Girls,
The Neon Judgement,
the Association,
The Motions,
World's Most,
The Dave Clark Five,
Von Mondo,
Eurythmics,
Gichy Dan,
The Litter,
Rakim,
Simply Red,
John Lydon,
Scrapy,
Deutsch Amerikanische Freundschaft,
The Detroit Cobras,
Joyce Sims,
Rotary Connection,
Swans,
cv313,
Duran Duran,
Crash Course in Science,
Avey Tare's Slasher Flicks,
Eden Ahbez,
Ten City,
The Human League,
The Grass Roots,
K-Klass,
De La Soul & Jungle Brothers,
Main Source,
Japan,
E-Dancer,
Tom Boy,
Barry Ungar,
The Angels of Light,
Kerri Chandler,
Eyeless In Gaza,
Gang Green,
ABBA,
Basic Channel,
Robert Hood,
DeepChord presents Echospace,
Sunsets and Hearts,
Morten Harket,
Radiopuhelimet,
Barclay James Harvest, Barclay James Harvest, Barclay James Harvest, Barclay James Harvest.
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.