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 Poland and from Madrid.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1977.
I'm losing my edge.
To all the kids in Accra and Hong Kong.
I'm losing my edge to the art-school Mexico City 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 Robert Palmer 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 Gories to the techno 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 Sparks. All the underground hits.
All Hardrive tracks. I heard you have a vinyl of every Tomorrow record on German import.
I heard that you have a white label of every seminal funk 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 harpsichord and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Fortunes record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tim Buckley,
Drive Like Jehu,
Byron Stingily,
Orchestral Manoeuvres in the Dark,
The Flesh Eaters,
The Sonics,
Wire,
Neil Young,
Kings Of Tomorrow,
Audionom,
Cheater Slicks,
Ludus,
The Toasters,
Minny Pops,
Gregory Isaacs,
Prince Buster,
Fatback Band,
Half Japanese,
Public Image Ltd.,
Thompson Twins,
The Knickerbockers,
Motorama,
The Misunderstood,
World's Most,
B.T. Express,
Arcadia,
James Chance & The Contortions,
Janne Schatter,
Duran Duran,
Joy Division,
Sonny Sharrock,
Pet Shop Boys,
CMW,
Organ,
Suburban Knight,
Eden Ahbez,
The Invisible,
Scott Walker,
Peter & Gordon,
Captain Beefheart & His Magic Band,
Nico,
Marvin Gaye,
Alphaville,
Young Marble Giants,
the Association,
Bob Dylan,
Shoche,
Lightning Bolt,
Mr. Review,
Sun Ra Arkestra,
Nation of Ulysses,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Pretty Things,
Moebius,
Suicide,
David Axelrod,
Johnny Clarke,
The Slits,
The West Coast Pop Art Experimental Band,
Strawberry Alarm Clock,
Reuben Wilson, Reuben Wilson, Reuben Wilson, Reuben Wilson.
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.