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 Papua New Guinea and from Lille.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Spokane and Seoul.
I'm losing my edge to the art-school Madrid 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 theremin 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 Dark Day to the disco 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 Soft Cell. All the underground hits.
All Red Lorry Yellow Lorry tracks. I heard you have a vinyl of every Laurel Aitken record on German import.
I heard that you have a white label of every seminal jazz 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 harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire record.
I hear that you and your band have sold your harpsichord and bought a guitar.
I hear that you and your band have sold your guitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
One Last Wish,
James Chance & The Contortions,
Brick,
Slave,
the Bar-Kays,
Q and Not U,
Smog,
Kas Product,
Chrome,
June of 44,
The Fortunes,
Public Image Ltd.,
The Invisible,
Steve Hackett,
Bang On A Can,
Electric Light Orchestra,
The Skatalites,
Kenny Larkin,
The West Coast Pop Art Experimental Band,
ABC,
Electric Prunes,
Man Eating Sloth,
The Leaves,
kango's stein massive,
Junior Murvin,
48th St. Collective,
Terrestrial Tones,
Schoolly D,
Delon & Dalcan,
Suburban Knight,
The Blues Magoos,
The Chocolate Watch Band,
Fluxion,
Supertramp,
Dr. Dre and Snoop Doggy Dog,
Half Japanese,
Roxy Music,
The Wake,
Eric Copeland,
Bizarre Inc.,
The Associates,
Quando Quango,
Dead Boys,
Guru Guru,
Avey Tare's Slasher Flicks,
Rosa Yemen,
Crime,
Gary Puckett & The Union Gap,
Rhythm & Sound,
Ultramagnetic MC's,
Silicon Teens,
Procol Harum,
Liliput,
Bauhaus,
Dorothy Ashby,
Fela Kuti,
Gil Scott-Heron & Brian Jackson,
A Flock of Seagulls,
The Velvet Underground,
Barclay James Harvest,
Depeche Mode,
Ohio Players,
Essential Logic, Essential Logic, Essential Logic, Essential Logic.
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.