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 Romania and from Spokane.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Jakarta and Columbus.
I'm losing my edge to the art-school Paris 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 theremin 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 Minnie Riperton to the dance 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 Bootsy Collins. All the underground hits.
All Electric Light Orchestra tracks. I heard you have a vinyl of every The Dead C record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a marimba and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a the Soft Cell record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roy Ayers Ubiquity,
David Bowie,
David McCallum,
Wasted Youth,
The Shadows of Knight,
Judy Mowatt,
Donny Hathaway,
Chris & Cosey,
Grandmaster Flash,
Sixth Finger,
Royal Trux,
Johnny Clarke,
This Heat,
David Axelrod,
Funkadelic,
Gang of Four,
Scrapy,
The Seeds,
Soft Cell,
Maurizio,
Big Daddy Kane,
the Human League,
Adolescents,
Toni Rubio,
Rod Modell,
The Kinks,
Circle Jerks,
Quando Quango,
Severed Heads,
Hasil Adkins,
Zapp,
Kool Moe Dee,
X-101,
Nas,
Black Moon,
Kevin Saunderson,
Iggy Pop,
Sunsets and Hearts,
L. Decosne,
Harpers Bizarre,
Loose Ends,
The United States of America,
Scientists,
The New Christs,
Jeff Lynne,
Marcia Griffiths,
The Dirtbombs,
Art Ensemble Of Chicago,
Dave Gahan,
Supertramp,
Don Cherry,
Eric Copeland,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Sugar Minott,
Ohio Players,
It's A Beautiful Day,
Fat Boys,
Soft Machine,
Rosa Yemen,
Bobby Hutcherson,
Prince Buster,
UT,
Anakelly, Anakelly, Anakelly, Anakelly.
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.