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 Honduras and from Taipei.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1975.
I'm losing my edge.
To all the kids in Salvador and Bologna.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the harpsichord sounds with much patience.
I was there when David Bowie 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 Angry Samoans to the dance kids.
I played it at the Troubador.
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 Lou Christie. All the underground hits.
All Cabaret Voltaire tracks. I heard you have a vinyl of every Mars 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 '60s cut and another box set from the '80s.
I hear you're buying a snare and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Young Marble Giants record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camron Feat. Memphis Bleek And Beenie Seigel,
These Immortal Souls,
Monolake,
The Busters,
Lalo Schifrin,
David McCallum,
Heaven 17,
The Fortunes,
X-102,
Ossler,
Gerry Rafferty,
Index,
Jeru the Damaja,
Fort Wilson Riot,
The Real Kids,
The Durutti Column,
Qualms,
Arcadia,
Lakeside,
The Invisible,
T. Rex,
The Blues Magoos,
Chris & Cosey,
T.S.O.L.,
Yazoo,
Urselle,
Unwound,
The Golliwogs,
Lindisfarne,
Sällskapet,
Brothers Johnson,
Judy Mowatt,
The Kinks,
Rosa Yemen,
Slick Rick,
B.T. Express,
Gary Puckett & The Union Gap,
Rhythim Is Rhythim,
Brand Nubian,
Nick Fraelich,
Derrick May,
The Cure,
The Searchers,
Soul II Soul,
Harpers Bizarre,
Rapeman,
Au Pairs,
Faust,
The Fire Engines,
Ituana,
Sugar Minott,
Fad Gadget,
The Index,
The Evens,
The Young Rascals,
the Normal,
E-Dancer,
Erasure,
This Heat,
The Names,
Lungfish, Lungfish, Lungfish, Lungfish.
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.