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 Germany and from Glasgow.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1979.
I'm losing my edge.
To all the kids in Beijing and Mexico City.
I'm losing my edge to the art-school Stockholm 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 spring reverb 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 Godley & Creme to the crunk kids.
I played it at Trash.
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 Tom Boy. All the underground hits.
All David McCallum tracks. I heard you have a vinyl of every Mars 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 '80s.
I hear you're buying a synthesizer and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Black Dice 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?
Arcadia,
Quando Quango,
The Tremeloes,
Erasure,
Main Source,
Lou Reed,
Dave Gahan,
Alison Limerick,
Grandmaster Flash,
Iggy Pop,
The Martian,
L. Decosne,
ABBA,
Average White Band,
Lonnie Liston Smith,
Lalo Schifrin,
Moby Grape,
Super Lover Cee & Casanova Rud,
Byron Stingily,
Eve St. Jones,
Marmalade,
Reagan Youth,
New York Dolls,
The Victims,
Faust,
T.S.O.L.,
Sight & Sound,
Marine Girls,
The Sonics,
Bootsy Collins,
Metal Thangz,
Monks,
The West Coast Pop Art Experimental Band,
Symarip,
Buzzcocks,
Graham Central Station,
The American Breed,
The Names,
The Shadows of Knight,
Erykah Badu,
The J.B.'s,
The Doobie Brothers,
James White and The Blacks,
The Associates,
F. McDonald,
Warsaw,
The Red Krayola,
X-102,
Robert Görl,
Can,
Lower 48,
Dennis Brown,
Tears for Fears,
Scratch Acid,
MDC,
Mo-Dettes,
E-Dancer,
Gian Franco Pienzio,
Lalann,
The Electric Prunes,
Nico,
Gary Puckett & The Union Gap,
Amon Düül II,
Faraquet, Faraquet, Faraquet, Faraquet.
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.