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 Bangladesh 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 1967 to 1973.
I'm losing my edge.
To all the kids in Manila and Copenhagen.
I'm losing my edge to the art-school Taipei 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 synthesizer 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 Sister Nancy to the electroclash kids.
I played it at the Roxy.
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 Bobby Byrd. All the underground hits.
All The United States of America tracks. I heard you have a vinyl of every Lyres record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Quando Quango record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bush Tetras,
Joe Finger,
Nas,
Liliput,
Ultra Naté,
Toni Rubio,
Matthew Halsall,
Pere Ubu,
Japan,
Pete Rock & C.L. Smooth,
Zapp,
June of 44,
Orchestral Manoeuvres in the Dark,
Amazonics,
Dave Gahan,
cv313,
Slick Rick,
Sight & Sound,
LL Cool J,
Bobby Sherman,
The Music Machine,
The New Christs,
Pet Shop Boys,
The Standells,
Rekid,
Andrew Hill,
Unrelated Segments,
Neu!,
Henry Cow,
Traffic Nightmare,
John Cale,
Procol Harum,
Unwound,
One Last Wish,
The Trojans,
Ice-T,
Manfred Mann's Earth Band,
Ultravox,
E-Dancer,
Slave,
kango's stein massive,
The Stooges,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
the Fania All-Stars,
Black Flag,
Graham Central Station,
Joensuu 1685,
The Fire Engines,
The Techniques,
Vaughan Mason & Crew,
Moebius,
The Names,
The Cosmic Jokers,
James White and The Blacks,
Ossler,
Interpol,
Alice Coltrane,
Quando Quango,
Matthew Bourne,
Brass Construction,
The Doobie Brothers, The Doobie Brothers, The Doobie Brothers, The Doobie Brothers.
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.