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 Maldives and from Philadelphia.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1966 to 1972.
I'm losing my edge.
To all the kids in New York and Philadelphia.
I'm losing my edge to the art-school Philadelphia 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 Captain Beefheart 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 Be Bop Deluxe to the punk kids.
I played it at the Hacienda.
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 Deadbeat. All the underground hits.
All Colin Newman tracks. I heard you have a vinyl of every Brass Construction record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a rhodes and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Au Pairs,
Eurythmics,
Dawn Penn,
The Happenings,
Nas,
Crispian St. Peters,
Jerry's Kids,
Man Eating Sloth,
Notorious Big And Bone Thugs,
Judy Mowatt,
Cybotron,
Carl Craig,
Television Personalities,
Pagans,
Black Flag,
Interpol,
The Red Krayola,
The Misunderstood,
Inner City,
Bang on a Can All-Stars,
Los Fastidios,
Wolf Eyes,
Erasure,
Kango’s Stein Massive,
Darondo,
The Velvet Underground,
cv313,
Avey Tare,
Nik Kershaw,
Michelle Simonal,
Marshall Jefferson,
Subhumans,
Yellowson,
Ultramagnetic MC's,
The Jesus and Mary Chain,
Boogie Down Productions,
Eric Dolphy,
Kool G Rap & DJ Polo,
The Sisters of Mercy,
Panda Bear,
EPMD,
Jacob Miller,
Tim Buckley,
The Stooges,
The Gun Club,
Jacques Brel,
Masters at Work,
Pere Ubu,
Boz Scaggs,
Hasil Adkins,
Nirvana,
China Crisis,
Fad Gadget,
Lebanon Hanover,
The Real Kids,
Agent Orange,
Dave Gahan,
Goldenarms,
The Gap Band,
Pantytec,
Sonic Youth,
Can, Can, Can, Can.
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.