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 South Sudan and from Delhi.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Lyon and Milan.
I'm losing my edge to the art-school Stockholm 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 harpsichord sounds with much patience.
I was there when Tom Verlaine 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 PIL to the rock kids.
I played it at the Roxy.
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 Pulsallama. All the underground hits.
All Mark Hollis tracks. I heard you have a vinyl of every Pharoah Sanders 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 '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Moss Icon record.
I hear that you and your band have sold your rhodes and bought a 808.
I hear that you and your band have sold your 808 and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythm & Sound,
Deadbeat,
Interpol,
Roxette,
Stockholm Monsters,
Sällskapet,
The Techniques,
The Chocolate Watch Band,
Alice Coltrane,
Roy Ayers,
Jeff Lynne,
June Days,
Fat Boys,
Harry Pussy,
the Fania All-Stars,
Sister Nancy,
La Düsseldorf,
The American Breed,
8 Eyed Spy,
Graham Central Station,
Hashim,
Moss Icon,
Clear Light,
Bobby Hutcherson,
Bauhaus,
New Age Steppers,
The Stooges,
Alison Limerick,
Bobbi Humphrey,
The Knickerbockers,
K-Klass,
Fatback Band,
Yellowson,
Bob Dylan,
Qualms,
Todd Terry,
Judy Mowatt,
Curtis Mayfield,
Nick Fraelich,
ABC,
Rufus Thomas,
The Music Machine,
Main Source,
Colin Newman,
The Last Poets,
Bobby Sherman,
New York Dolls,
Swell Maps,
These Immortal Souls,
Jacques Brel,
a-ha,
Eyeless In Gaza,
Robert Hood,
Sun Ra Arkestra,
Soft Machine,
Organ,
The Buckinghams,
Scott Walker + Sunn O))),
Can,
UT,
DNA,
Donny Hathaway,
The Walker Brothers, The Walker Brothers, The Walker Brothers, The Walker Brothers.
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.