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 Belgium and from Johannesburg.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Copenhagen and Stockholm.
I'm losing my edge to the art-school Salvador 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 linndrum sounds with much patience.
I was there when Holger Czukay 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 Ossler to the electroclash kids.
I played it at the Astoria.
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 Soul Sonic Force. All the underground hits.
All Sun Ra tracks. I heard you have a vinyl of every David McCallum 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 '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Sarah Menescal record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Richard Hell and the Voidoids,
Barrington Levy,
Roxette,
The Standells,
Moebius,
Joe Finger,
L. Decosne,
The Moleskins,
AZ,
Lou Reed & John Cale,
Smog,
Mary Jane Girls,
London Community Gospel Choir,
Public Enemy,
Nik Kershaw,
Robert Görl,
Bill Near,
De La Soul & Jungle Brothers,
The Pretty Things,
The Velvet Underground,
8 Eyed Spy,
The Fuzztones,
Funkadelic,
Eric Copeland,
Tropical Tobacco,
Ronnie Foster,
Traffic Nightmare,
Shoche,
The Mighty Diamonds,
The Monks,
Rowland S Howard / Lydia Lunch,
the Association,
the Soft Cell,
Donny Hathaway,
The Birthday Party,
The Men They Couldn't Hang,
Accadde A,
Thee Headcoats,
Absolute Body Control,
Agitation Free,
Darondo,
The Remains,
Magazine,
The Pop Group,
Outsiders,
Flamin' Groovies,
Kevin Saunderson,
Fort Wilson Riot,
Chris Corsano,
The Zeros,
Kool G Rap & DJ Polo,
ABC,
the Swans,
Fugazi,
Matthew Halsall,
Neil Young,
Harry Pussy,
Metal Thangz,
The Sonics,
Lungfish,
Lou Reed,
Ultravox,
Tears for Fears, Tears for Fears, Tears for Fears, Tears for Fears.
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.