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 Peru and from Columbus.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Salvador and Tehran.
I'm losing my edge to the art-school Johannesburg 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 1983 at the first Bronski Beat practice in a loft in Brixton.
I was working on the theremin sounds with much patience.
I was there when Tom Verlaine 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 The Alarm Clocks to the funk kids.
I played it at the Troubador.
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 Pantaleimon. All the underground hits.
All Country Joe & The Fish tracks. I heard you have a vinyl of every Peter and Kerry record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Robert Hood record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kool Moe Dee,
Saccharine Trust,
Eurythmics,
Sun Ra,
Be Bop Deluxe,
Kerri Chandler,
Eve St. Jones,
8 Eyed Spy,
In Retrospect,
Main Source,
Young Marble Giants,
Louis and Bebe Barron,
Joensuu 1685,
Deepchord,
Lower 48,
Orchestral Manoeuvres in the Dark,
Bauhaus,
Avey Tare,
Pharaoh Sanders and the Fire Engines,
Traffic Nightmare,
The Doobie Brothers,
Man Eating Sloth,
The Happenings,
The Invisible,
Pete Rock & C.L. Smooth,
The Men They Couldn't Hang,
Vladislav Delay,
Letta Mbulu,
John Foxx,
Alphaville,
Pagans,
Ornette Coleman,
Fluxion,
Pulsallama,
The Divine Comedy,
Boredoms,
The Modern Lovers,
Brass Construction,
Hoover,
Isaac Hayes,
Depeche Mode,
Swans,
Fat Boys,
Girls At Our Best!,
Monolake,
The Seeds,
Country Joe & The Fish,
Bobby Hutcherson,
Lakeside,
Kings Of Tomorrow,
Black Sheep,
Interpol,
the Slits,
Stiv Bators,
Boogie Down Productions,
Ohio Players,
Brick,
X-Ray Spex,
Albert Ayler,
The Gun Club,
Sly & The Family Stone, Sly & The Family Stone, Sly & The Family Stone, Sly & The Family Stone.
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.