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 Papua New Guinea and from Tehran.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Johannesburg and Stockholm.
I'm losing my edge to the art-school Spokane 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the sitar sounds with much patience.
I was there when Robert Palmer 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 Sisters of Mercy to the electroclash kids.
I played it at the Crocodile.
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 Gories. All the underground hits.
All Oppenheimer Analysis tracks. I heard you have a vinyl of every Moss Icon 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 '60s cut and another box set from the '90s.
I hear you're buying a guitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Max Romeo record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tommy Roe,
Underground Resistance,
Unrelated Segments,
Tim Buckley,
Simply Red,
June Days,
Soul II Soul,
Gastr Del Sol,
Hashim,
Teenage Jesus and the Jerks,
The Monks,
Zapp,
Funky Four + One,
Amazonics,
Altered Images,
Babytalk,
B.T. Express,
cv313,
The Wake,
The Slackers,
Brass Construction,
Terry Callier,
Mission of Burma,
Barry Ungar,
Graham Central Station,
Eric Copeland,
AZ,
Rakim,
Flipper,
R.M.O.,
John Foxx,
Sexual Harrassment,
Deakin,
Tears for Fears,
Youth Brigade,
Nico,
The Saints,
London Community Gospel Choir,
Isaac Hayes,
Alphaville,
The Moleskins,
Kayak,
Jacques Brel,
Mo-Dettes,
Amon Düül II,
Depeche Mode,
Sad Lovers and Giants,
Siouxsie and the Banshees,
Cybotron,
DJ Sneak,
Essential Logic,
Eddi Front,
Donald Byrd,
Adolescents,
Sound Behaviour,
Liaisons Dangereuses,
Eden Ahbez,
The Peanut Butter Conspiracy,
Girls At Our Best!,
The Cure,
Country Joe & The Fish,
Johnny Osbourne,
Robert Görl, Robert Görl, Robert Görl, Robert Görl.
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.