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 Palau and from Toronto.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Houston and Milan.
I'm losing my edge to the art-school Tokyo 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 güiro sounds with much patience.
I was there when Holger Czukay 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 Isaac Hayes to the dance 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 Sonics. All the underground hits.
All Lakeside tracks. I heard you have a vinyl of every Bootsy's Rubber Band 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 snare and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Severed Heads record.
I hear that you and your band have sold your organ and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Soft Cell,
Alton Ellis,
The Music Machine,
Godley & Creme,
Jacques Brel,
Blossom Toes,
The Doors,
Fugazi,
Sugar Minott,
Eve St. Jones,
Colin Newman,
The Smiths,
Wally Richardson,
Moss Icon,
Royal Trux,
Jawbox,
Aural Exciters,
Country Teasers,
Maurizio,
The Beau Brummels,
The Birthday Party,
Scratch Acid,
Unwound,
10cc,
Intrusion,
The Sound,
Heavy D & The Boyz,
EPMD,
Laurel Aitken,
Faraquet,
Desert Stars,
The Selecter,
Echo & the Bunnymen,
Sarah Menescal,
Tomorrow,
Fort Wilson Riot,
Aswad,
Pantytec,
Eric Dolphy,
The Remains,
Saccharine Trust,
Electric Light Orchestra,
Icehouse,
Chrome,
Wolf Eyes,
Al Stewart,
Dark Day,
Janne Schatter,
Sex Pistols,
Scrapy,
Shoche,
Scott Walker,
cv313,
Ice-T,
Super Lover Cee & Casanova Rud,
New Order,
Sound Behaviour,
Lou Christie,
Carl Craig,
Sonic Youth,
Teenage Jesus and the Jerks,
Alison Limerick,
Slave, Slave, Slave, Slave.
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.