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 Namibia and from Lille.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 1976.
I'm losing my edge.
To all the kids in Jakarta and Columbus.
I'm losing my edge to the art-school Sao Paulo 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 guitar 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 Monks to the dance 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 Hashim. All the underground hits.
All Lafayette Afro Rock Band tracks. I heard you have a vinyl of every Television 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 '80s cut and another box set from the '90s.
I hear you're buying a 808 and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bizarre Inc.,
Peter Gordon & Love of Life Orchestra,
Quantec,
Albert Ayler,
Kevin Saunderson,
The Count Five,
Roger Hodgson,
Agent Orange,
Selector Dub Narcotic,
Skriet,
The Detroit Cobras,
Gang Green,
The Smiths,
Morten Harket,
Crime,
Tom Boy,
Ituana,
The Offenders,
Unrelated Segments,
Lyres,
Blake Baxter,
Flipper,
8 Eyed Spy,
Andrew Hill,
Rowland S Howard / Lydia Lunch,
Quadrant,
Main Source,
Essential Logic,
H. Thieme,
Circle Jerks,
Aswad,
Althea and Donna,
Nas,
Marc Romboy vs. Booka Shade,
Boogie Down Productions,
Yazoo,
Larry & the Blue Notes,
Godley & Creme,
Howard Jones,
Deadbeat,
The Mummies,
Archie Shepp,
Grey Daturas,
the Germs,
Black Pus,
Erykah Badu,
Mo-Dettes,
Tears for Fears,
Bill Wells,
E-Dancer,
The Invisible,
Siglo XX,
Dennis Brown,
Davy DMX,
Cabaret Voltaire,
MDC,
Bobby Byrd,
David Axelrod,
Barbara Tucker,
Roxette,
Barclay James Harvest,
Kayak,
Scion, Scion, Scion, Scion.
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.