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 Argentina and from Lyon.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1965 to 1976.
I'm losing my edge.
To all the kids in Madrid and Lille.
I'm losing my edge to the art-school London 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 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 Agent Orange to the dance kids.
I played it at Cafe Wha.
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 Eden Ahbez. All the underground hits.
All Black Sheep tracks. I heard you have a vinyl of every Pole 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 '80s cut and another box set from the '80s.
I hear you're buying a guitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Lou Christie 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?
Grauzone,
Avey Tare's Slasher Flicks,
Amon Düül II,
The Royal Family And The Poor,
Charles Mingus,
Lungfish,
Ajijia Myrayebe,
Albert Ayler,
Sight & Sound,
Marshall Jefferson,
Carl Craig,
Index,
Boz Scaggs,
Chris Corsano,
John Holt,
Althea and Donna,
Bronski Beat,
R.M.O.,
Outsiders,
Black Pus,
the Human League,
Lou Reed & Metallica,
Bill Wells,
The Walker Brothers,
The Black Dice,
Gary Puckett & The Union Gap,
Barry Ungar,
Mad Mike,
Groovy Waters,
Unrelated Segments,
The Knickerbockers,
Maurizio,
Slick Rick,
Davy DMX,
Bobby Sherman,
ABC,
Moby Grape,
John Lydon,
Minor Threat,
Neil Young & Crazy Horse,
Kurtis Blow,
Organ,
Teenage Jesus and the Jerks,
Marcia Griffiths,
The Leaves,
Black Sheep,
The Five Americans,
Kayak,
Hardrive,
Symarip,
Warren Ellis,
The Doobie Brothers,
Interpol,
Kings Of Tomorrow,
Röyhkä ja Rättö ja Lehtisalo,
Cluster,
The Searchers,
KRS-One,
Nick Cave & The Bad Seeds,
James White and The Blacks,
Eurythmics,
AZ, AZ, AZ, AZ.
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.