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 Kosovo and from Tehran.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1971.
I'm losing my edge.
To all the kids in London and Portland.
I'm losing my edge to the art-school Manila 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 linndrum 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 the Association to the jazz kids.
I played it at the 40 Watt.
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 The Mummies. All the underground hits.
All Stockholm Monsters tracks. I heard you have a vinyl of every The Young Rascals record on German import.
I heard that you have a white label of every seminal grime 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 rhodes and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Associates record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord 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?
The Happenings,
Icehouse,
Quantec,
Sly & The Family Stone,
Lou Christie,
Tom Boy,
The Smiths,
Babytalk,
T.S.O.L.,
Sällskapet,
Josef K,
Gil Scott-Heron & Brian Jackson,
Bush Tetras,
Hoover,
Andrew Ashong & Theo Parrish,
Subhumans,
Agitation Free,
Teenage Jesus and the Jerks,
Soul II Soul,
Crash Course in Science,
Kerri Chandler,
Dr. Dre and Snoop Doggy Dog,
Yusef Lateef,
Moss Icon,
The Fire Engines,
Marmalade,
the Slits,
Camron Feat. Memphis Bleek And Beenie Seigel,
Alton Ellis,
Louis and Bebe Barron,
Connie Case,
The Mighty Diamonds,
Stockholm Monsters,
Royal Trux,
Jeff Lynne,
Anthony Braxton,
Toni Rubio,
Lindisfarne,
Amazonics,
The Red Krayola,
Lou Reed,
Röyhkä ja Rättö ja Lehtisalo,
The Dave Clark Five,
David McCallum,
Bill Wells,
The Names,
The Toasters,
Roy Ayers,
Oneida,
Alphaville,
Skaos,
The Dead C,
The Motions,
Major Organ And The Adding Machine,
Second Layer,
Harry Pussy,
Marc Almond,
Gil Scott-Heron and Jamie xx,
Max Romeo,
Isaac Hayes, Isaac Hayes, Isaac Hayes, Isaac Hayes.
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.