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 Nicaragua and from Woodstock.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1972.
I'm losing my edge.
To all the kids in Portland and Lyon.
I'm losing my edge to the art-school Manila 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 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 Bobby Womack to the dance 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 Oppenheimer Analysis. All the underground hits.
All Marshall Jefferson tracks. I heard you have a vinyl of every Moebius record on German import.
I heard that you have a white label of every seminal electroclash 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 808 and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Dark Day record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultravox,
Ossler,
The Barracudas,
Roxette,
These Immortal Souls,
Traffic Nightmare,
Nation of Ulysses,
The Men They Couldn't Hang,
The Techniques,
Curtis Mayfield,
Robert Görl,
Hot Snakes,
Easy Going,
Cecil Taylor,
Zapp,
Maleditus Sound,
X-101,
Flamin' Groovies,
The Dead C,
Lyres,
Siouxsie and the Banshees,
Oneida,
Crime,
Louis and Bebe Barron,
The Offenders,
The Moleskins,
Rhythm & Sound,
The Detroit Cobras,
Interpol,
Max Romeo,
Spandau Ballet,
Danielle Patucci,
Marcia Griffiths,
Funky Four + One,
Dark Day,
The Zeros,
Main Source,
Alphaville,
Los Fastidios,
The Sound,
Visionaries,LMNO, T- Love & Iriscience,
Depeche Mode,
Marvin Gaye,
Cymande,
The Durutti Column,
Flash Fearless,
Cluster,
Alice Coltrane,
Goldenarms,
Freddie Wadling,
Roy Ayers Ubiquity,
The Pop Group,
The Motions,
The Tremeloes,
Eric Dolphy,
Archie Shepp,
Cameo,
LL Cool J,
China Crisis,
Steve Hackett,
Bobby Hutcherson,
Banda Bassotti,
Sonic Youth,
Pierre Henry, Pierre Henry, Pierre Henry, Pierre Henry.
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.