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 United States and from Tokyo.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Halifax and Stockholm.
I'm losing my edge to the art-school Manchester 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 guitar sounds with much patience.
I was there when David Bowie 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 Count Five to the disco 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 Al Stewart. All the underground hits.
All Strawberry Alarm Clock tracks. I heard you have a vinyl of every Lucky Dragons record on German import.
I heard that you have a white label of every seminal electroclash 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 güiro and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Schoolly D record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Khruangbin,
Eden Ahbez,
This Heat,
Bizarre Inc.,
The Vogues,
The Gun Club,
Bill Near,
Quadrant,
La Düsseldorf,
Terry Callier,
Magazine,
Juan Atkins,
Deutsch Amerikanische Freundschaft,
Junior Murvin,
Royal Trux,
Echospace,
cv313,
Steve Hackett,
Sonic Youth,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Flesh Eaters,
Unrelated Segments,
Frankie Knuckles,
The Modern Lovers,
Donald Byrd,
Soft Machine,
Eric Dolphy,
Underground Resistance,
Tears for Fears,
Cameo,
Kas Product,
The Fortunes,
Jandek,
Mr. Review,
Maurizio,
Gian Franco Pienzio,
Panda Bear,
Dark Day,
Lou Reed,
Glambeats Corp.,
Animal Collective,
Goldenarms,
The Victims,
Mantronix,
Deepchord,
H. Thieme,
Television,
B.T. Express,
Reagan Youth,
Country Teasers,
Heavy D & The Boyz,
Stetsasonic,
Siglo XX,
Los Fastidios,
The Gories,
Heaven 17,
Marshall Jefferson,
the Association,
Tomorrow,
Todd Rundgren,
Outsiders,
The Dave Clark Five,
Dr. Dre and Snoop Doggy Dog,
Lungfish,
Hasil Adkins, Hasil Adkins, Hasil Adkins, Hasil Adkins.
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.