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 Syria and from London.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1970.
I'm losing my edge.
To all the kids in Mexico City and Mumbai.
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 sitar sounds with much patience.
I was there when Donald Fagen 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 Super Lover Cee & Casanova Rud 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 Roy Ayers. All the underground hits.
All Sugar Minott tracks. I heard you have a vinyl of every Loose Ends record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Eddi Front record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cowsills,
Gang Gang Dance,
The Fortunes,
Black Moon,
Andrew Hill,
Soulsonic Force,
Dead Boys,
Jeff Lynne,
Audionom,
James White and The Blacks,
Stereo Dub,
Joe Finger,
Franke,
Groovy Waters,
Todd Rundgren,
Amon Düül II,
Nik Kershaw,
Anthony Braxton,
Siouxsie and the Banshees,
Minny Pops,
Funky Four + One,
Aaron Thompson,
cv313,
Agent Orange,
The Happenings,
Shoche,
The Stooges,
Gil Scott-Heron & Brian Jackson,
Saccharine Trust,
Laurel Aitken,
Jesper Dahlback,
Lyres,
Gil Scott Heron,
U.S. Maple,
Toni Rubio,
Cymande,
The Motions,
Sexual Harrassment,
Terrestrial Tones,
Sonic Youth,
Alphaville,
Dennis Brown,
Public Image Ltd.,
Jimmy McGriff,
Delta 5,
John Lydon,
K-Klass,
Gong,
Half Japanese,
Reagan Youth,
Terror Squad Feat. Camron,
Joe Smooth,
Technova,
Rhythm & Sound,
Supertramp,
The Zeros,
Fatback Band,
Thinking Fellers Union Local 282,
Sarah Menescal,
Pere Ubu,
Echospace,
Skriet, Skriet, Skriet, Skriet.
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.