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 Korea South and from Lyon.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Tokyo and Philadelphia.
I'm losing my edge to the art-school Salvador 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 rhodes sounds with much patience.
I was there when Lou Reed 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 Isaac Hayes to the disco 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 Pole. All the underground hits.
All World's Most tracks. I heard you have a vinyl of every Harmonia 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 '70s cut and another box set from the '70s.
I hear you're buying a spring reverb and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Barracudas record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sun Ra,
F. McDonald,
Soul II Soul,
Curtis Mayfield,
K-Klass,
The Vogues,
The Smoke,
Andrew Ashong & Theo Parrish,
Lower 48,
Q65,
the Sonics,
Andrew Hill,
Bluetip,
Rhythm & Sound,
The Happenings,
Richard Hell and the Voidoids,
Procol Harum,
Lou Christie,
Dennis Brown,
Kas Product,
Soulsonic Force,
The Red Krayola,
Shoche,
Matthew Halsall,
Moss Icon,
The Fuzztones,
Outsiders,
Terrestrial Tones,
Mars,
Maurizio,
Roxy Music,
Quantec,
Jeff Mills,
Crash Course in Science,
ABC,
Janne Schatter,
Shuggie Otis,
Essential Logic,
Joey Negro,
The Sound,
Theoretical Girls,
The Victims,
Al Stewart,
Scratch Acid,
Max Romeo,
The Pretty Things,
Magazine,
Isaac Hayes,
The Five Americans,
The Martian,
Deepchord,
The Dirtbombs,
Vladislav Delay,
Dawn Penn,
Ponytail,
London Community Gospel Choir,
The Wake,
The Techniques,
Morten Harket,
The Names,
Kauko Röyhkä ja Narttu,
The Mighty Diamonds,
Gang of Four, Gang of Four, Gang of Four, Gang of Four.
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.