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 Slovakia and from Hong Kong.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Stockholm and Shanghai.
I'm losing my edge to the art-school Lille 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 spring reverb sounds with much patience.
I was there when Captain Beefheart 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 Tremeloes to the grime 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 Cabaret Voltaire. All the underground hits.
All F. McDonald tracks. I heard you have a vinyl of every Spandau Ballet record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a 808 and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Notorious BIG live in Amsterdam 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?
Oneida,
Suicide,
Procol Harum,
Ornette Coleman,
London Community Gospel Choir,
Robert Hood,
10cc,
Lindisfarne,
Faraquet,
Derrick May,
The Neon Judgement,
Subhumans,
X-101,
The Fuzztones,
Delta 5,
Sound Behaviour,
Shoche,
Fela Kuti,
Black Bananas,
Manfred Mann's Earth Band,
Hasil Adkins,
UT,
Siouxsie and the Banshees,
Flash Fearless,
The Last Poets,
the Soft Cell,
The Jesus and Mary Chain,
Nirvana,
The Leaves,
The Birthday Party,
Gerry Rafferty,
The Fugs,
Infiniti,
Todd Terry,
Pierre Henry,
The Trojans,
Fifty Foot Hose,
Judy Mowatt,
Pussy Galore,
The Fire Engines,
Kaleidoscope,
Country Teasers,
Glambeats Corp.,
The Techniques,
Art Ensemble Of Chicago,
Vladislav Delay,
The Motions,
Anakelly,
Youth Brigade,
Ultimate Spinach,
Massinfluence,
Nik Kershaw,
DJ Style,
New York Dolls,
Sonny Sharrock,
Marc Romboy vs. Booka Shade,
One Last Wish,
The Shadows of Knight,
Zapp,
Wally Richardson,
Technova,
Scientists, Scientists, Scientists, Scientists.
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.