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 Cape Verde and from Tehran.
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 1960 to 1973.
I'm losing my edge.
To all the kids in London and Cairo.
I'm losing my edge to the art-school Manila 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 chamberlin 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 Neu! to the electroclash kids.
I played it at the Crocodile.
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 Depeche Mode. All the underground hits.
All Second Layer tracks. I heard you have a vinyl of every The Modern Lovers 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 guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Harpers Bizarre record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ossler,
Lou Reed,
The Toasters,
Cymande,
Marcia Griffiths,
Deepchord,
Strawberry Alarm Clock,
Morten Harket,
Brick,
The Moody Blues,
Quando Quango,
Albert Ayler,
The Leaves,
Absolute Body Control,
Guru Guru,
Gian Franco Pienzio,
Wings,
Archie Shepp,
Half Japanese,
Pierre Henry,
Nico,
Lower 48,
Bluetip,
Todd Rundgren,
Country Joe & The Fish,
Manfred Mann's Earth Band,
Eden Ahbez,
Faust,
the Normal,
Don Cherry,
Sun Ra,
Harpers Bizarre,
Sight & Sound,
The Doobie Brothers,
Mission of Burma,
the Association,
Avey Tare,
Tim Buckley,
Shoche,
Davy DMX,
Yaz,
Fort Wilson Riot,
Arab on Radar,
Hasil Adkins,
Gang Gang Dance,
Public Enemy,
The Buckinghams,
Eric Dolphy,
The Mojo Men,
Iggy Pop,
Lizzy Mercier Descloux,
Donny Hathaway,
Stiv Bators,
Sandy B,
ABC,
Pole,
Chris & Cosey,
The Men They Couldn't Hang,
Gregory Isaacs,
Camouflage,
Beasts of Bourbon,
Oppenheimer Analysis,
Gary Puckett & The Union Gap, Gary Puckett & The Union Gap, Gary Puckett & The Union Gap, Gary Puckett & The Union Gap.
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.