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 Thailand and from London.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Manila and Lyon.
I'm losing my edge to the art-school Mexico City 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 Josef K practice in a loft in Edinburgh.
I was working on the theremin sounds with much patience.
I was there when Michael McDonald 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 Neil Young & Crazy Horse to the crunk kids.
I played it at Cafe Wha.
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 Oneida. All the underground hits.
All Vaughan Mason & Crew tracks. I heard you have a vinyl of every Grauzone 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 '80s cut and another box set from the '90s.
I hear you're buying a rhodes and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Rosa Yemen record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Smiths,
Juan Atkins,
Kerrie Biddell,
Robert Wyatt,
Byron Stingily,
Sound Behaviour,
Audionom,
Sparks,
Index,
The Detroit Cobras,
Arcadia,
A Certain Ratio,
David Bowie,
Howard Jones,
Major Organ And The Adding Machine,
Q and Not U,
Echospace,
Liliput,
Black Pus,
Reagan Youth,
Michelle Simonal,
Barrington Levy,
Glambeats Corp.,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Deepchord,
The Sound,
Wings,
Rhythim Is Rhythim,
The Fire Engines,
The New Christs,
Stockholm Monsters,
Tropical Tobacco,
Soft Machine,
Model 500,
Gabor Szabo,
The Trojans,
Kaleidoscope,
Electric Prunes,
Visionaries,LMNO, T- Love & Iriscience,
The Dirtbombs,
Kauko Röyhkä ja Narttu,
Patti Smith,
The Fortunes,
Todd Terry,
This Heat,
KRS-One,
Roy Ayers,
The Cure,
Lizzy Mercier Descloux,
Hashim,
The Men They Couldn't Hang,
Pharoah Sanders,
Eric Copeland,
Kool G Rap & DJ Polo,
Aural Exciters,
Marvin Gaye,
Derrick May,
Crispy Ambulance,
FM Einheit,
The Neon Judgement,
Ultravox, Ultravox, Ultravox, Ultravox.
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.