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 Israel and from Madrid.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Bologna and Accra.
I'm losing my edge to the art-school Manchester 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 Mary Jane Girls to the disco 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 The Detroit Cobras. All the underground hits.
All ABC tracks. I heard you have a vinyl of every Dawn Penn record on German import.
I heard that you have a white label of every seminal disco 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 an organ and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The West Coast Pop Art Experimental Band record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
B.T. Express,
Wasted Youth,
Kerri Chandler,
Eurythmics,
Art Ensemble Of Chicago,
Malaria!,
Sunsets and Hearts,
Main Source,
Lou Reed,
Mr. Review,
James Chance & The Contortions,
K-Klass,
The Neon Judgement,
Fatback Band,
Sight & Sound,
Siouxsie and the Banshees,
Tears for Fears,
The Men They Couldn't Hang,
Agent Orange,
Pere Ubu,
Radio Birdman,
Joe Smooth,
Wolf Eyes,
Rekid,
Sam Rivers,
Yusef Lateef,
Scrapy,
John Cale,
Fad Gadget,
Eyeless In Gaza,
The J.B.'s,
Erasure,
Tomorrow,
Infiniti,
Gang of Four,
Rhythm & Sound,
Avey Tare & Kría Brekkan,
Shuggie Otis,
Eli Mardock,
Dorothy Ashby,
Television,
Zero Boys,
Richard Hell and the Voidoids,
Andrew Ashong & Theo Parrish,
Sun City Girls,
Joyce Sims,
The Dead C,
The Barracudas,
Susan Cadogan,
8 Eyed Spy,
Camron Feat. Memphis Bleek And Beenie Seigel,
Suburban Knight,
Mark Hollis,
Bluetip,
Stereo Dub,
Dual Sessions,
Barrington Levy,
Gang Green,
A Certain Ratio,
Buzzcocks, Buzzcocks, Buzzcocks, Buzzcocks.
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.