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 Senegal and from Taipei.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Bremen and Manchester.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the chamberlin 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 The Victims 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 Jerry's Kids. All the underground hits.
All The Fortunes tracks. I heard you have a vinyl of every Brass Construction record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a guitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Bronski Beat record.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yaz,
the Bar-Kays,
Lyres,
Swans,
Main Source,
Kango’s Stein Massive,
Juan Atkins,
World's Most,
Alton Ellis,
Hashim,
The Knickerbockers,
Jesper Dahlback,
Eric Copeland,
Talk Talk,
Ronan,
Chris & Cosey,
Kerri Chandler,
Skaos,
Lalo Schifrin,
Faust,
The Flesh Eaters,
Public Image Ltd.,
Symarip,
The Jesus and Mary Chain,
Sparks,
Prince Buster,
Aaron Thompson,
Fifty Foot Hose,
Funky Four + One,
Negative Approach,
The Fugs,
Albert Ayler,
Charles Mingus,
The Zeros,
Cheater Slicks,
Panda Bear,
David McCallum,
Duran Duran,
The Martian,
Lebanon Hanover,
The Move,
Soft Machine,
K-Klass,
Jerry Gold Smith,
The Alarm Clocks,
Marcia Griffiths,
Major Organ And The Adding Machine,
Angry Samoans,
X-102,
Ituana,
Brand Nubian,
Radio Birdman,
Flipper,
The Electric Prunes,
One Last Wish,
Cymande,
Angels of Light & Akron/Family,
Vainqueur,
The Offenders,
Second Layer,
Ponytail,
The Sonics,
The Cosmic Jokers,
Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock.
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.