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 Guatemala and from Houston.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Mumbai and Taipei.
I'm losing my edge to the art-school Mexico City 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 David Bowie 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 Peter and Kerry to the crunk kids.
I played it at Cafe Wha.
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 Lalann. All the underground hits.
All Kango’s Stein Massive tracks. I heard you have a vinyl of every Masters at Work record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Visage record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Interpol,
Deadbeat,
Dr. Dre and Snoop Doggy Dog,
Liaisons Dangereuses,
Skriet,
Laurel Aitken,
Aswad,
Arcadia,
R.M.O.,
Rhythim Is Rhythim,
Spoonie Gee,
The Birthday Party,
a-ha,
Wings,
The Knickerbockers,
Basic Channel,
Spandau Ballet,
Theoretical Girls,
Faraquet,
Radiopuhelimet,
Lafayette Afro Rock Band,
This Heat,
The Doobie Brothers,
Jandek,
New Age Steppers,
T.S.O.L.,
Index,
Fifty Foot Hose,
Wighnomy Brothers & Robag Wruhme,
Terry Callier,
Crash Course in Science,
Josef K,
Radio Birdman,
PIL,
Glenn Branca,
Livin' Joy,
Fugazi,
Grey Daturas,
Joe Finger,
Sällskapet,
Fatback Band,
Negative Approach,
Infiniti,
Magazine,
Marvin Gaye,
Unrelated Segments,
Peter Gordon & Love of Life Orchestra,
Deutsch Amerikanische Freundschaft,
New Order,
Flipper,
Make Up,
Tommy Roe,
Wasted Youth,
Nico,
Quando Quango,
Sarah Menescal,
Nik Kershaw,
The Misunderstood,
Sad Lovers and Giants,
The Remains, The Remains, The Remains, The Remains.
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.