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 France and from New York.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1972.
I'm losing my edge.
To all the kids in Salvador and Hong Kong.
I'm losing my edge to the art-school Columbus 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 808 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 Slave to the jazz kids.
I played it at the Troubador.
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 Public Image Ltd.. All the underground hits.
All Moss Icon tracks. I heard you have a vinyl of every Television Personalities record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Joe Finger record.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
K-Klass,
Mad Mike,
Shuggie Otis,
Minor Threat,
Masters at Work,
Scrapy,
Moebius,
James White and The Blacks,
Wasted Youth,
Gregory Isaacs,
Accadde A,
Orchestral Manoeuvres in the Dark,
John Foxx,
MC5,
Siglo XX,
Rotary Connection,
Essential Logic,
Selector Dub Narcotic,
Parry Music,
Theoretical Girls,
Von Mondo,
Visage,
Moss Icon,
Harmonia,
Quando Quango,
Aswad,
Ituana,
Radio Birdman,
The Fuzztones,
The Star Department,
Be Bop Deluxe,
Lafayette Afro Rock Band,
Rekid,
Henry Cow,
Heaven 17,
Captain Beefheart & His Magic Band,
Lebanon Hanover,
Gil Scott-Heron & Brian Jackson,
R.M.O.,
The Real Kids,
Black Moon,
Sly & The Family Stone,
Stiv Bators,
Pere Ubu,
The Gap Band,
Absolute Body Control,
World's Most,
The Slackers,
Kauko Röyhkä ja Narttu,
Camberwell Now,
The Birthday Party,
Rapeman,
ABC,
Procol Harum,
Brass Construction,
Anthony Braxton,
Richard Hell and the Voidoids,
Fort Wilson Riot,
Jerry Gold Smith,
Talk Talk,
Kool G Rap & DJ Polo,
KRS-One,
Half Japanese, Half Japanese, Half Japanese, Half Japanese.
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.