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 Italy and from Portland.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Hong Kong and Lyon.
I'm losing my edge to the art-school Johannesburg 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the rhodes 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 Massinfluence to the punk kids.
I played it at the Spitz.
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 Marshall Jefferson. All the underground hits.
All Bobby Hutcherson tracks. I heard you have a vinyl of every Boredoms 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 '60s cut and another box set from the '70s.
I hear you're buying a clarinet and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Alphaville record.
I hear that you and your band have sold your theremin and bought a sitar.
I hear that you and your band have sold your sitar and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Half Japanese,
Funkadelic,
Camron Feat. Memphis Bleek And Beenie Seigel,
Eric Copeland,
Arab on Radar,
Derrick Morgan,
Ken Boothe,
Joey Negro,
Gang of Four,
Soft Machine,
Chrome,
Roxy Music,
Tim Buckley,
The Gladiators,
The Tremeloes,
The Zeros,
Marc Almond,
The Happenings,
The Kinks,
Outsiders,
Tubeway Army,
Arcadia,
Dorothy Ashby,
Television,
Quando Quango,
Whodini,
Brass Construction,
Tomorrow,
Desert Stars,
Von Mondo,
Red Lorry Yellow Lorry,
Max Romeo,
Hashim,
Drive Like Jehu,
A Certain Ratio,
Avey Tare,
Main Source,
Fluxion,
Danielle Patucci,
Unrelated Segments,
Flipper,
Angels of Light & Akron/Family,
Pole,
Franke,
The Jesus and Mary Chain,
The Cure,
Visage,
Donald Byrd,
Cameo,
Siouxsie and the Banshees,
Bill Near,
The American Breed,
Eurythmics,
Fatback Band,
Robert Wyatt,
Schoolly D,
The Black Dice,
Khruangbin,
Tropical Tobacco,
Intrusion,
Swell Maps,
Harpers Bizarre,
Sad Lovers and Giants,
Wire,
The Buckinghams, The Buckinghams, The Buckinghams, The Buckinghams.
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.