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 St Kitts & Nevis and from Manila.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 Toronto and Accra.
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 oboe 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 Mission of Burma to the disco 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 John Holt. All the underground hits.
All Lizzy Mercier Descloux tracks. I heard you have a vinyl of every Girls At Our Best! 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 '80s cut and another box set from the '80s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Magazine record.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soft Cell,
David Bowie,
Tom Boy,
The Fire Engines,
David McCallum,
Infiniti,
Throbbing Gristle,
Eric Copeland,
Donald Byrd,
Saccharine Trust,
Stockholm Monsters,
Donny Hathaway,
Neil Young,
Radiopuhelimet,
The Slits,
Bootsy Collins,
The Moody Blues,
Mark Hollis,
The Beau Brummels,
the Slits,
Amazonics,
Pussy Galore,
Sexual Harrassment,
The Real Kids,
The Neon Judgement,
Drexciya,
The Zeros,
Brass Construction,
Bobby Byrd,
Fat Boys,
The Divine Comedy,
Minnie Riperton,
Wally Richardson,
Don Cherry,
Ultravox,
Stiv Bators,
The New Christs,
The Vogues,
Parry Music,
Jeru the Damaja,
Bill Near,
Susan Cadogan,
Steve Hackett,
Dave Gahan,
Althea and Donna,
The Blackbyrds,
Flamin' Groovies,
Crash Course in Science,
Ronan,
Moss Icon,
Gabor Szabo,
Beasts of Bourbon,
Buzzcocks,
Johnny Osbourne,
Mr. Review,
Jerry's Kids,
Bootsy's Rubber Band,
Dark Day,
Motorama,
Joensuu 1685,
The Toasters,
The Smiths,
Vladislav Delay,
The Jesus and Mary Chain, The Jesus and Mary Chain, The Jesus and Mary Chain, The Jesus and Mary Chain.
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.