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 Azerbaijan and from Portland.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1964 to 1973.
I'm losing my edge.
To all the kids in Accra and Hong Kong.
I'm losing my edge to the art-school New York 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 rhodes 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 Arthur Verocai to the dance 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 Crime. All the underground hits.
All Reuben Wilson tracks. I heard you have a vinyl of every Teenage Jesus and the Jerks record on German import.
I heard that you have a white label of every seminal punk 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 clarinet and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Gian Franco Pienzio record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dave Gahan,
Robert Wyatt,
Marine Girls,
Kings Of Tomorrow,
Drexciya,
Fluxion,
Pylon,
L. Decosne,
Marshall Jefferson,
Bootsy's Rubber Band,
Alison Limerick,
Andrew Hill,
The Victims,
Pole,
LL Cool J,
The Flesh Eaters,
Cecil Taylor,
Ludus,
Delon & Dalcan,
The United States of America,
Sun Ra,
Freddie Wadling,
The Mummies,
Louis and Bebe Barron,
Sandy B,
The Smiths,
Supertramp,
X-101,
Interpol,
Prince Buster,
Soft Machine,
Blossom Toes,
Gil Scott-Heron & Brian Jackson,
Suicide,
The Move,
The Residents,
The Chocolate Watch Band,
Country Teasers,
Derrick Morgan,
Curtis Mayfield,
Public Enemy,
Ohio Players,
Moebius,
The Black Dice,
Bobby Byrd,
Blancmange,
The Detroit Cobras,
The Misunderstood,
Arthur Verocai,
Flash Fearless,
Piero Umiliani,
Joey Negro,
Lou Reed,
Pet Shop Boys,
Reagan Youth,
The Tremeloes,
Monolake,
Fat Boys,
Pete Rock & C.L. Smooth,
Eric Dolphy,
Junior Murvin,
the Sonics,
Judy Mowatt,
Gabor Szabo, Gabor Szabo, Gabor Szabo, Gabor Szabo.
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.