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 Benin and from Delhi.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Copenhagen and Milan.
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 organ 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 Moebius 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 Grandmaster Flash and the Furious Five. All the underground hits.
All Clear Light tracks. I heard you have a vinyl of every Arcadia record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an organ and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Rowland S Howard / Lydia Lunch record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Spandau Ballet,
Eurythmics,
Bob Dylan,
Amon Düül,
Matthew Bourne,
Eden Ahbez,
Ohio Players,
CMW,
OOIOO,
Angry Samoans,
Kerrie Biddell,
Bronski Beat,
Andrew Hill,
Colin Newman,
Grauzone,
48th St. Collective,
The West Coast Pop Art Experimental Band,
Lou Reed,
Faust,
Robert Wyatt,
Mandrill,
Janne Schatter,
cv313,
World's Most,
Von Mondo,
Popol Vuh,
Flamin' Groovies,
The Gladiators,
Carl Craig,
Johnny Osbourne,
Matthew Halsall,
Depeche Mode,
Gang of Four,
Peter & Gordon,
Los Fastidios,
Lonnie Liston Smith,
Lou Christie,
Kas Product,
The Blackbyrds,
Siglo XX,
Sun City Girls,
Oneida,
Symarip,
Glenn Branca,
Tropical Tobacco,
Massinfluence,
The Raincoats,
Leonard Cohen,
Jacob Miller,
New Order,
DJ Style,
The Men They Couldn't Hang,
Tears for Fears,
Camouflage,
Drexciya,
Panda Bear,
Infiniti,
The Modern Lovers,
Niagra,
Marc Romboy vs. Booka Shade,
Wally Richardson, Wally Richardson, Wally Richardson, Wally Richardson.
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.