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 Philippines and from Tehran.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Lyon and Delhi.
I'm losing my edge to the art-school Calgary 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 marimba sounds with much patience.
I was there when Holger Czukay 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 Peanut Butter Conspiracy to the jazz kids.
I played it at the Spitz.
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 Deadbeat. All the underground hits.
All Public Enemy tracks. I heard you have a vinyl of every The Peanut Butter Conspiracy record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Icehouse record.
I hear that you and your band have sold your linndrum and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Althea and Donna,
Rhythm & Sound,
Max Romeo,
Icehouse,
Accadde A,
Gastr Del Sol,
David Bowie,
Matthew Bourne,
Grauzone,
Anthony Braxton,
The Divine Comedy,
The United States of America,
The Dave Clark Five,
U.S. Maple,
Davy DMX,
Pete Rock & C.L. Smooth,
The Sisters of Mercy,
Sonic Youth,
Ten City,
Sugar Minott,
Crispian St. Peters,
Soul Sonic Force,
Qualms,
Marvin Gaye,
The Standells,
Nils Olav,
Bizarre Inc.,
The Peanut Butter Conspiracy,
Bootsy's Rubber Band,
Mary Jane Girls,
Babytalk,
Brand Nubian,
Peter Gordon & Love of Life Orchestra,
La Düsseldorf,
Minnie Riperton,
Ohio Players,
The Martian,
Barbara Tucker,
Public Image Ltd.,
The Chocolate Watch Band,
Los Fastidios,
Bobby Hutcherson,
Roger Hodgson,
Essential Logic,
Darondo,
Eric Copeland,
The Toasters,
Kings Of Tomorrow,
Danielle Patucci,
Intrusion,
Bang On A Can,
The Busters,
Agent Orange,
Ituana,
Angry Samoans,
Youth Brigade,
Monks,
Quadrant,
Marc Romboy vs. Booka Shade,
The Gladiators,
The Cowsills, The Cowsills, The Cowsills, The Cowsills.
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.