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 Spain and from Cairo.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Columbus and Lyon.
I'm losing my edge to the art-school Seoul 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 harpsichord 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 Quando Quango to the funk kids.
I played it at the Roxy.
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 The Fire Engines. All the underground hits.
All Circle Jerks tracks. I heard you have a vinyl of every Henry Cow record on German import.
I heard that you have a white label of every seminal jazz 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 an organ and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Deadbeat record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lonnie Liston Smith,
The Angels of Light,
Ultimate Spinach,
Bootsy's Rubber Band,
Mad Mike,
Sly & The Family Stone,
Bluetip,
Traffic Nightmare,
Agitation Free,
Big Daddy Kane,
The Music Machine,
Judy Mowatt,
Pharoah Sanders,
Jerry's Kids,
Das Ding,
the Sonics,
Eli Mardock,
Depeche Mode,
Dave Gahan,
Todd Rundgren,
The Blues Magoos,
Neil Young,
Television,
Wighnomy Brothers & Robag Wruhme,
Yazoo,
Andrew Ashong & Theo Parrish,
Public Enemy,
Organ,
Zero Boys,
Bobby Hutcherson,
Lafayette Afro Rock Band,
Fifty Foot Hose,
Agent Orange,
Justin Hinds & The Dominoes,
the Human League,
Morten Harket,
Boredoms,
Eric Dolphy,
The Move,
Urselle,
Jacob Miller,
U.S. Maple,
Ohio Players,
New York Dolls,
10cc,
Glambeats Corp.,
Monolake,
China Crisis,
Lou Reed,
The Offenders,
Tears for Fears,
Thee Headcoats,
The Pop Group,
Infiniti,
The J.B.'s,
Yusef Lateef,
Rosa Yemen,
Pantaleimon,
Subhumans,
Al Stewart,
Outsiders,
Barbara Tucker,
Bobbi Humphrey,
Hoover, Hoover, Hoover, Hoover.
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.