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 Guinea-Bissau and from Accra.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Sao Paulo and Delhi.
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 1967 at the first Rodriguez practice in a loft in Detroit.
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 Little Man to the rap kids.
I played it at Trash.
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 Gladiators. All the underground hits.
All Kool G Rap & DJ Polo tracks. I heard you have a vinyl of every Marine Girls 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 '80s cut and another box set from the '70s.
I hear you're buying a harpsichord and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Unrelated Segments record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brick,
Whodini,
Soft Machine,
The Velvet Underground,
Dawn Penn,
Panda Bear,
The Remains,
Kerri Chandler,
Soul II Soul,
Public Enemy,
Country Joe & The Fish,
Rotary Connection,
The Black Dice,
The Victims,
The Seeds,
Grandmaster Flash,
Louis and Bebe Barron,
X-Ray Spex,
DJ Sneak,
Gang Gang Dance,
Piero Umiliani,
Sällskapet,
Henry Cow,
Harry Pussy,
The Golliwogs,
Lizzy Mercier Descloux,
a-ha,
Terry Callier,
Stetsasonic,
The Birthday Party,
Sugar Minott,
The Human League,
The Slits,
Bill Near,
Albert Ayler,
Andrew Ashong & Theo Parrish,
Barrington Levy,
Tommy Roe,
The Searchers,
Judy Mowatt,
Stockholm Monsters,
Echospace,
Pole,
The Sound,
The Index,
Reagan Youth,
Skriet,
Sun City Girls,
London Community Gospel Choir,
Leonard Cohen,
Faraquet,
Suicide,
Massinfluence,
Visage,
Marc Almond,
These Immortal Souls,
Sparks,
The Sisters of Mercy,
Roger Hodgson, Roger Hodgson, Roger Hodgson, Roger Hodgson.
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.