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 Trinidad & Tobago and from Lyon.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Sao Paulo and Paris.
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 spring reverb sounds with much patience.
I was there when Robert Palmer 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 The Smoke to the grunge 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 The Remains. All the underground hits.
All Pagans tracks. I heard you have a vinyl of every Johnny Osbourne record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a linndrum and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Unrelated Segments record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar 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?
The Kinks,
A Certain Ratio,
The New Christs,
Notorious BIG live in Amsterdam,
Public Image Ltd.,
Stereo Dub,
Joyce Sims,
The Pretty Things,
In Retrospect,
Model 500,
Ultravox,
Accadde A,
Funky Four + One,
DeepChord presents Echospace,
Eric Copeland,
Unrelated Segments,
Major Organ And The Adding Machine,
Half Japanese,
James Chance & The Contortions,
F. McDonald,
Section 25,
Ultramagnetic MC's,
Gregory Isaacs,
Can,
Derrick May,
DNA,
Gerry Rafferty,
The Sisters of Mercy,
Suicide,
Oblivians,
Scott Walker + Sunn O))),
Lalo Schifrin,
Main Source,
Louis and Bebe Barron,
Organ,
The Music Machine,
The Seeds,
Henry Cow,
Ultimate Spinach,
Bauhaus,
The Fuzztones,
China Crisis,
Black Sheep,
Anakelly,
David Bowie,
The Motions,
Bobby Byrd,
Lower 48,
Royal Trux,
The Smiths,
Alison Limerick,
The Neon Judgement,
Isaac Hayes,
Khruangbin,
The Gun Club,
Nico,
The Buckinghams,
Jacob Miller,
Judy Mowatt,
Avey Tare,
Parry Music,
The Sonics,
Dennis Brown,
Aaron Thompson, Aaron Thompson, Aaron Thompson, Aaron Thompson.
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.