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 Cyprus and from Mumbai.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 Spokane and Tehran.
I'm losing my edge to the art-school Manchester 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 theremin 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 Wasted Youth to the disco kids.
I played it at the Hacienda.
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 Ossler. All the underground hits.
All Gang of Four tracks. I heard you have a vinyl of every The Music Machine record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a theremin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a D'Angelo record.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear that you and your band have sold your snare and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Clear Light,
T. Rex,
Babytalk,
The Vogues,
David McCallum,
Radio Birdman,
Tropical Tobacco,
48th St. Collective,
Kurtis Blow,
Skaos,
Fad Gadget,
Jacob Miller,
Sam Rivers,
F. McDonald,
Country Teasers,
Gil Scott-Heron and Jamie xx,
Pharoah Sanders,
The Busters,
The Associates,
Liaisons Dangereuses,
Sonic Youth,
Black Bananas,
Scan 7,
Notorious Big And Bone Thugs,
Kevin Saunderson,
Buzzcocks,
Khruangbin,
Echospace,
Magma,
Manfred Mann's Earth Band,
Art Ensemble Of Chicago,
China Crisis,
Swell Maps,
Dual Sessions,
Lyres,
Terrestrial Tones,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Juan Atkins,
Bush Tetras,
Circle Jerks,
Tears for Fears,
Matthew Halsall,
Delta 5,
Altered Images,
10cc,
Black Sheep,
Blossom Toes,
OOIOO,
Massinfluence,
The Gories,
Television,
Magazine,
Lee Hazlewood,
the Normal,
Judy Mowatt,
Slick Rick,
D'Angelo,
Ultravox,
Angry Samoans,
Skarface,
Spandau Ballet, Spandau Ballet, Spandau Ballet, Spandau Ballet.
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.