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 Sierra Leone and from Spokane.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Salvador and Philadelphia.
I'm losing my edge to the art-school New York 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 snare 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 Index to the techno kids.
I played it at the Troubador.
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 Blancmange. All the underground hits.
All One Last Wish tracks. I heard you have a vinyl of every Quadrant 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 '70s cut and another box set from the '90s.
I hear you're buying a mellotron and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Al Stewart record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
CMW,
Radio Birdman,
Stockholm Monsters,
Flipper,
Barry Ungar,
Slave,
Eric Dolphy,
The Durutti Column,
Anakelly,
John Holt,
Bob Dylan,
China Crisis,
Archie Shepp,
ABC,
Soul II Soul,
Henry Cow,
Rhythm & Sound,
Kaleidoscope,
Public Enemy,
Vainqueur,
Robert Hood,
Gerry Rafferty,
Liliput,
June of 44,
Average White Band,
Andrew Hill,
Sister Nancy,
The Jesus and Mary Chain,
Dave Gahan,
Adolescents,
Rahsaan Roland Kirk,
Jacques Brel,
Red Lorry Yellow Lorry,
Patti Smith,
Andrew Ashong & Theo Parrish,
DJ Sneak,
Flash Fearless,
X-101,
Strawberry Alarm Clock,
Visage,
Cameo,
Laurel Aitken,
The Star Department,
K-Klass,
The Fuzztones,
Section 25,
Con Funk Shun,
the Bar-Kays,
Jawbox,
Ultravox,
UT,
The Golliwogs,
John Coltrane,
Byron Stingily,
Major Organ And The Adding Machine,
David Axelrod,
Q65,
Fat Boys,
Jesper Dahlbäck,
Ultra Naté,
48th St. Collective,
The Detroit Cobras, The Detroit Cobras, The Detroit Cobras, The Detroit Cobras.
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.