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 China and from Manchester.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Paris and Seoul.
I'm losing my edge to the art-school Salvador 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the synthesizer sounds with much patience.
I was there when Nile Rodgers 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 Seeds to the dance kids.
I played it at the Spitz.
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 Roger Hodgson. All the underground hits.
All The Wake tracks. I heard you have a vinyl of every Alton Ellis record on German import.
I heard that you have a white label of every seminal grime 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 rhodes and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Negative Approach record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
L. Decosne,
Marmalade,
Rowland S Howard / Lydia Lunch,
Albert Ayler,
the Normal,
Ossler,
Pussy Galore,
The Offenders,
Oblivians,
Royal Trux,
Groovy Waters,
The Smoke,
DJ Style,
The Grass Roots,
Freddie Wadling,
Monolake,
Peter & Gordon,
Hashim,
The Index,
The Young Rascals,
Boogie Down Productions,
Steve Hackett,
The Velvet Underground,
Technova,
The Cosmic Jokers,
The Gladiators,
Bauhaus,
Ajijia Myrayebe,
LL Cool J,
The Skatalites,
Althea and Donna,
Television,
Boz Scaggs,
U.S. Maple,
Saccharine Trust,
Terrestrial Tones,
kango's stein massive,
Drexciya,
Barry Ungar,
DJ Sneak,
Mandrill,
Make Up,
Nas,
Sun City Girls,
Ultravox,
Grandmaster Flash,
The Men They Couldn't Hang,
Bang On A Can,
Sex Pistols,
Amon Düül,
Motorama,
Deadbeat,
Underground Resistance,
Juan Atkins,
Barclay James Harvest,
Eric Dolphy,
Oppenheimer Analysis,
Kevin Saunderson,
Cameo,
Byron Stingily,
Kauko Röyhkä ja Narttu,
Neu!, Neu!, Neu!, Neu!.
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.