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 Zambia and from Jakarta.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Mexico City and Tehran.
I'm losing my edge to the art-school Mumbai 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 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 Suicide to the rock 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 Harry Pussy. All the underground hits.
All Electric Light Orchestra tracks. I heard you have a vinyl of every Inner City record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Smog record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Strawberry Alarm Clock,
The United States of America,
Joe Smooth,
Black Flag,
L. Decosne,
the Soft Cell,
Scion,
Porter Ricks,
Aswad,
The Barracudas,
Sun Ra Arkestra,
Average White Band,
Nick Fraelich,
Gong,
Brothers Johnson,
The Fugs,
Althea and Donna,
Wighnomy Brothers & Robag Wruhme,
Rakim,
Basic Channel,
Pantytec,
Dead Boys,
Lakeside,
Tommy Roe,
Leonard Cohen,
Masters at Work,
Funky Four + One,
Swell Maps,
Beasts of Bourbon,
Wire,
The Smiths,
The Jesus and Mary Chain,
Notorious BIG live in Amsterdam,
Gian Franco Pienzio,
Camron Feat. Memphis Bleek And Beenie Seigel,
Blossom Toes,
Jacob Miller,
Thompson Twins,
Angry Samoans,
Tears for Fears,
Sarah Menescal,
Liliput,
K-Klass,
Derrick May,
Skarface,
Marine Girls,
The Misunderstood,
David McCallum,
Thee Headcoats,
The West Coast Pop Art Experimental Band,
Rhythm & Sound,
The Sonics,
Notorious Big And Bone Thugs,
Rowland S Howard / Lydia Lunch,
Barry Ungar,
Wolf Eyes,
Cameo,
James Chance & The Contortions,
Oppenheimer Analysis,
AZ,
Deutsch Amerikanische Freundschaft,
The Moleskins, The Moleskins, The Moleskins, The Moleskins.
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.