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 Uruguay and from Tokyo.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1960 to 1973.
I'm losing my edge.
To all the kids in Glasgow and Paris.
I'm losing my edge to the art-school Columbus 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 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 Slick Rick to the disco 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 Selecter. All the underground hits.
All Stereo Dub tracks. I heard you have a vinyl of every Manfred Mann's Earth Band 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 '70s cut and another box set from the '70s.
I hear you're buying a rhodes and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Pantytec record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yellowson,
Alton Ellis,
John Holt,
Amazonics,
Gil Scott-Heron & Brian Jackson,
Supertramp,
The Tremeloes,
Barry Ungar,
Toni Rubio,
The Shadows of Knight,
Pierre Henry,
Rhythim Is Rhythim,
It's A Beautiful Day,
Y Pants,
Byron Stingily,
Cabaret Voltaire,
Eve St. Jones,
Althea and Donna,
Matthew Halsall,
Ponytail,
Organ,
The Cramps,
Saccharine Trust,
Joensuu 1685,
The Jesus and Mary Chain,
The Mojo Men,
The Zeros,
Audionom,
Swell Maps,
Wally Richardson,
Main Source,
Sandy B,
the Slits,
Orchestral Manoeuvres in the Dark,
Roy Ayers Ubiquity,
JFA,
Monolake,
Brass Construction,
Big Daddy Kane,
Selector Dub Narcotic,
The Angels of Light,
Derrick Morgan,
Wighnomy Brothers & Robag Wruhme,
Amon Düül II,
Joey Negro,
Television,
Sexual Harrassment,
Tubeway Army,
Glambeats Corp.,
Bauhaus,
The Count Five,
The Victims,
the Fania All-Stars,
Ohio Players,
Rod Modell,
Excepter,
New Order,
Fear,
Rakim,
Pagans,
Marvin Gaye,
The Doors,
The Gap Band,
Peter and Kerry,
Beasts of Bourbon, Beasts of Bourbon, Beasts of Bourbon, Beasts of Bourbon.
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.