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 Mauritania and from Lyon.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1974.
I'm losing my edge.
To all the kids in Tehran and Stockholm.
I'm losing my edge to the art-school Edmonton 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 Michael McDonald 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 Nico to the grunge kids.
I played it at the Crocodile.
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 Ultravox. All the underground hits.
All Unwound tracks. I heard you have a vinyl of every Graham Central Station record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Zeros record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cabaret Voltaire,
Qualms,
Newcleus,
R.M.O.,
The Shadows of Knight,
Agent Orange,
Gil Scott-Heron and Jamie xx,
The Dave Clark Five,
Beasts of Bourbon,
DJ Style,
Henry Cow,
Royal Trux,
The Seeds,
Camron Feat. Memphis Bleek And Beenie Seigel,
Judy Mowatt,
Rapeman,
Wings,
The Alarm Clocks,
Patti Smith,
Gil Scott-Heron & Brian Jackson,
Jeru the Damaja,
Warsaw,
Todd Terry,
Ossler,
The Walker Brothers,
Fugazi,
Andrew Ashong & Theo Parrish,
The Doors,
Faraquet,
Wighnomy Brothers & Robag Wruhme,
Kenny Larkin,
Thee Headcoats,
Sandy B,
Arthur Verocai,
Kas Product,
Drexciya,
Stockholm Monsters,
The Misunderstood,
The Red Krayola,
The Invisible,
The Skatalites,
World's Most,
The Moleskins,
The West Coast Pop Art Experimental Band,
Buzzcocks,
Eurythmics,
Desert Stars,
Yusef Lateef,
The Count Five,
Jacob Miller,
Black Flag,
Siouxsie and the Banshees,
Oneida,
Animal Collective,
Rod Modell,
Soulsonic Force,
Easy Going,
Eyeless In Gaza,
Swans,
Panda Bear,
One Last Wish,
Wire,
Electric Prunes, Electric Prunes, Electric Prunes, Electric Prunes.
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.