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 Egypt and from Portland.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1975.
I'm losing my edge.
To all the kids in Seoul and Jakarta.
I'm losing my edge to the art-school Jakarta 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 chamberlin 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 Gerry Rafferty to the crunk 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 Arcadia. All the underground hits.
All Masters at Work tracks. I heard you have a vinyl of every Bluetip record on German import.
I heard that you have a white label of every seminal funk 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 an organ and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Godley & Creme record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Johnny Osbourne,
Boredoms,
Red Lorry Yellow Lorry,
The Count Five,
Bizarre Inc.,
Symarip,
Bobby Byrd,
Ken Boothe,
The Modern Lovers,
Reagan Youth,
Black Bananas,
Danielle Patucci,
Janne Schatter,
T.S.O.L.,
Dual Sessions,
Harpers Bizarre,
Soft Machine,
Roxette,
Tom Boy,
Amon Düül,
Oppenheimer Analysis,
Eric B and Rakim,
Lafayette Afro Rock Band,
Groovy Waters,
Joe Finger,
Babytalk,
Be Bop Deluxe,
Toni Rubio,
The Doors,
David McCallum,
the Normal,
Wire,
Yellowson,
The United States of America,
Section 25,
Mo-Dettes,
Boz Scaggs,
the Association,
Hoover,
Unrelated Segments,
Scan 7,
Heaven 17,
Japan,
The Beau Brummels,
Angels of Light & Akron/Family,
Sun Ra,
Alison Limerick,
Organ,
Desert Stars,
Crooked Eye,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Minutemen,
The Pop Group,
Grandmaster Flash,
Minny Pops,
AZ,
The Gun Club,
Lindisfarne,
Kas Product,
Ohio Players,
The Zeros,
Icehouse,
Chrome, Chrome, Chrome, Chrome.
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.