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 Hungary and from Mumbai.
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 1974.
I'm losing my edge.
To all the kids in Lagos and Mumbai.
I'm losing my edge to the art-school Sao Paulo 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 Feelies practice in a loft in Haledon.
I was working on the chamberlin 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 LL Cool J to the electroclash 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 Monks. All the underground hits.
All Boz Scaggs tracks. I heard you have a vinyl of every Siouxsie and the Banshees record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Ohio Players record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Accadde A,
Bobby Womack,
Scrapy,
Wire,
The Fortunes,
The Names,
The Angels of Light,
The Leaves,
Qualms,
Junior Murvin,
Interpol,
Blancmange,
The Litter,
A Flock of Seagulls,
Crime,
The Birthday Party,
The Gladiators,
Gastr Del Sol,
Brass Construction,
Chris & Cosey,
Eric Dolphy,
Bluetip,
The Sound,
Davy DMX,
Susan Cadogan,
Albert Ayler,
Peter and Kerry,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Japan,
Severed Heads,
Connie Case,
Negative Approach,
Underground Resistance,
Warsaw,
Jandek,
Cabaret Voltaire,
Magazine,
Easy Going,
Zapp,
Guru Guru,
DJ Sneak,
Can,
U.S. Maple,
Heavy D & The Boyz,
Delta 5,
Dead Boys,
Surgeon,
Popol Vuh,
Kayak,
Excepter,
Prince Buster,
Scion,
Barbara Tucker,
ABC,
Youth Brigade,
Mo-Dettes,
Andrew Hill,
The Blues Magoos,
FM Einheit,
Röyhkä ja Rättö ja Lehtisalo,
Michelle Simonal,
Thompson Twins, Thompson Twins, Thompson Twins, Thompson Twins.
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.