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 Philippines and from Paris.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 Halifax and Halifax.
I'm losing my edge to the art-school Bremen 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 güiro 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 Lakeside to the electroclash kids.
I played it at the Astoria.
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 Dennis Brown. All the underground hits.
All Pharoah Sanders tracks. I heard you have a vinyl of every Heaven 17 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 '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Letta Mbulu record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Durutti Column,
Al Stewart,
Marc Almond,
Johnny Osbourne,
Dual Sessions,
Soulsonic Force,
The Pop Group,
Major Organ And The Adding Machine,
The American Breed,
Mad Mike,
Freddie Wadling,
Jerry's Kids,
Visionaries,LMNO, T- Love & Iriscience,
Negative Approach,
The Cowsills,
Yaz,
The Cure,
Half Japanese,
Von Mondo,
Traffic Nightmare,
Carl Craig,
Andrew Ashong & Theo Parrish,
Jacob Miller,
The Smoke,
Terry Callier,
The Walker Brothers,
Siouxsie and the Banshees,
The Tremeloes,
Bootsy Collins,
Fat Boys,
Moebius,
Procol Harum,
Crooked Eye,
cv313,
Schoolly D,
Gastr Del Sol,
Little Man,
Lakeside,
Grey Daturas,
Sun City Girls,
Bluetip,
the Germs,
Essential Logic,
Piero Umiliani,
Wings,
Y Pants,
The Alarm Clocks,
Eric Copeland,
Magma,
Pantytec,
Zero Boys,
Marshall Jefferson,
The Young Rascals,
Judy Mowatt,
Jandek,
Ultravox,
Deutsch Amerikanische Freundschaft,
The Divine Comedy,
Oppenheimer Analysis,
Motorama,
Monks,
Amon Düül II,
Sandy B, Sandy B, Sandy B, Sandy B.
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.