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 Suriname and from Paris.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Winnipeg and Cairo.
I'm losing my edge to the art-school Sao Paulo 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the organ sounds with much patience.
I was there when Lou Reed 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 Judy Mowatt to the punk kids.
I played it at the 40 Watt.
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 Rites of Spring. All the underground hits.
All Donny Hathaway tracks. I heard you have a vinyl of every Major Organ And The Adding Machine record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a sitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Fall record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Althea and Donna,
Rekid,
Orchestral Manoeuvres in the Dark,
Graham Central Station,
Marc Almond,
In Retrospect,
ABC,
the Association,
Traffic Nightmare,
Josef K,
Shoche,
Chris & Cosey,
Pete Rock & C.L. Smooth,
Electric Prunes,
Spandau Ballet,
The Vogues,
Sun Ra Arkestra,
Dead Boys,
Toni Rubio,
The Victims,
Moss Icon,
Nation of Ulysses,
Andrew Ashong & Theo Parrish,
La Düsseldorf,
Flamin' Groovies,
Country Teasers,
Young Marble Giants,
Nick Fraelich,
The Motions,
the Bar-Kays,
Monolake,
The Gap Band,
Sex Pistols,
Sound Behaviour,
Ludus,
Robert Wyatt,
The Star Department,
Maurizio,
Arab on Radar,
A Certain Ratio,
X-102,
Thee Headcoats,
Wings,
Tommy Roe,
Mandrill,
Davy DMX,
Gang Green,
Aswad,
Cybotron,
The Electric Prunes,
The Slackers,
Bobby Sherman,
Nick Cave & The Bad Seeds,
The Durutti Column,
Bootsy Collins,
Siouxsie and the Banshees,
Danielle Patucci,
Justin Hinds & The Dominoes,
June Days,
Jacques Brel,
Slick Rick,
World's Most,
Aloha Tigers, Aloha Tigers, Aloha Tigers, Aloha Tigers.
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.