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 Algeria and from Columbus.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Edmonton and Edmonton.
I'm losing my edge to the art-school Cairo 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the synthesizer sounds with much patience.
I was there when Lou Reed 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 Music Machine to the funk kids.
I played it at Trash.
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 Pantaleimon. All the underground hits.
All Interpol tracks. I heard you have a vinyl of every Hashim record on German import.
I heard that you have a white label of every seminal grunge 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 theremin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a B.T. Express record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Little Man,
Alphaville,
The Neon Judgement,
the Soft Cell,
The Gap Band,
Kings Of Tomorrow,
Darondo,
The Tremeloes,
The Raincoats,
Tubeway Army,
The J.B.'s,
Stockholm Monsters,
The Cosmic Jokers,
D'Angelo,
Lalo Schifrin,
Technova,
Kurtis Blow,
The Dave Clark Five,
Henry Cow,
Chris & Cosey,
Anakelly,
Saccharine Trust,
The Golliwogs,
Roxy Music,
X-101,
Mr. Review,
Black Pus,
Judy Mowatt,
Lee Hazlewood,
Gil Scott-Heron and Jamie xx,
Avey Tare,
The Misunderstood,
June of 44,
Vainqueur,
Sandy B,
Oneida,
Outsiders,
Larry & the Blue Notes,
Sun City Girls,
Mars,
Joensuu 1685,
The Fugs,
Oblivians,
Andrew Ashong & Theo Parrish,
Harry Pussy,
Colin Newman,
James White and The Blacks,
B.T. Express,
Lou Reed & Metallica,
Bobby Womack,
Neil Young & Crazy Horse,
Vaughan Mason & Crew,
A Certain Ratio,
Toni Rubio,
AZ,
Arthur Verocai,
Ajijia Myrayebe,
Public Image Ltd.,
Q and Not U,
Franke,
Soft Machine, Soft Machine, Soft Machine, Soft Machine.
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.