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 Benin and from Bologna.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Copenhagen and Portland.
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 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 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 Deutsch Amerikanische Freundschaft to the rap kids.
I played it at the Hacienda.
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 Delon & Dalcan. All the underground hits.
All Dawn Penn tracks. I heard you have a vinyl of every Guru Guru record on German import.
I heard that you have a white label of every seminal dance 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 spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Judy Mowatt record.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Birthday Party,
The United States of America,
The Black Dice,
Max Romeo,
Joyce Sims,
Barbara Tucker,
Camberwell Now,
The Electric Prunes,
Anthony Braxton,
Young Marble Giants,
Gil Scott Heron,
Gong,
Spandau Ballet,
Davy DMX,
Joe Finger,
Avey Tare & Kría Brekkan,
Amazonics,
Orchestral Manoeuvres in the Dark,
Adolescents,
Susan Cadogan,
Jimmy McGriff,
The Gladiators,
Maurizio,
Reagan Youth,
Zero Boys,
The Detroit Cobras,
Lou Reed & Metallica,
Scott Walker + Sunn O))),
The Music Machine,
Lou Christie,
Eric Dolphy,
The Cramps,
London Community Gospel Choir,
Barclay James Harvest,
the Normal,
Yaz,
Agent Orange,
Bobby Sherman,
Con Funk Shun,
Bang On A Can,
Kauko Röyhkä ja Narttu,
X-Ray Spex,
Symarip,
Brand Nubian,
Crime,
Eurythmics,
Los Fastidios,
Lyres,
The Vogues,
Peter Gordon & Love of Life Orchestra,
Scan 7,
MDC,
The Martian,
Kayak,
Wasted Youth,
Technova,
Jeru the Damaja,
KRS-One,
48th St. Collective,
X-101,
World's Most,
The Flesh Eaters, The Flesh Eaters, The Flesh Eaters, The Flesh Eaters.
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.