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 Morocco and from Paris.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Lille and London.
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 harpsichord sounds with much patience.
I was there when Tom Verlaine 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 Masters at Work to the electroclash kids.
I played it at the Hacienda.
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 the Slits. All the underground hits.
All The Beau Brummels tracks. I heard you have a vinyl of every Fluxion 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 marimba and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Public Enemy record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Dirtbombs,
The Blues Magoos,
The Remains,
Minny Pops,
The Offenders,
Soul II Soul,
The Techniques,
The Raincoats,
Sticky Fingaz feat. Raekwon,
Ohio Players,
Severed Heads,
David McCallum,
Fugazi,
Peter & Gordon,
the Sonics,
Wolf Eyes,
Johnny Osbourne,
Delon & Dalcan,
Crispy Ambulance,
Neil Young,
World's Most,
James Chance & The Contortions,
Animal Collective,
Sixth Finger,
Skarface,
10cc,
Dead Boys,
Patti Smith,
Byron Stingily,
Minutemen,
Sun City Girls,
Orchestral Manoeuvres in the Dark,
Masters at Work,
Electric Light Orchestra,
Jeff Lynne,
Selector Dub Narcotic,
Drexciya,
Davy DMX,
Steve Hackett,
Barrington Levy,
The Index,
Jeff Mills,
The Black Dice,
Visionaries,LMNO, T- Love & Iriscience,
Funkadelic,
Hasil Adkins,
John Lydon,
Grandmaster Flash,
Neil Young & Crazy Horse,
Fluxion,
Charles Mingus,
Monolake,
Pharoah Sanders,
Freddie Wadling,
Vainqueur,
Prince Buster,
One Last Wish,
Brass Construction,
The United States of America,
Tom Boy,
Rakim,
Lee Hazlewood, Lee Hazlewood, Lee Hazlewood, Lee Hazlewood.
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.