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 Italy and from Lille.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Woodstock and Tokyo.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the sitar 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 Vogues to the funk kids.
I played it at Trash.
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 Pretty Things. All the underground hits.
All Jesper Dahlbäck tracks. I heard you have a vinyl of every Parry Music 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 '50s cut and another box set from the '90s.
I hear you're buying a harpsichord and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Con Funk Shun record.
I hear that you and your band have sold your sitar and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Urselle,
Aloha Tigers,
Reagan Youth,
The Electric Prunes,
Circle Jerks,
One Last Wish,
Kool Moe Dee,
John Coltrane,
Skarface,
The Men They Couldn't Hang,
Sight & Sound,
The Slits,
Ultimate Spinach,
Freddie Wadling,
DeepChord presents Echospace,
Pet Shop Boys,
Notorious Big And Bone Thugs,
David Bowie,
Gil Scott Heron,
The Remains,
Sound Behaviour,
The Alarm Clocks,
Minnie Riperton,
the Bar-Kays,
Peter & Gordon,
Eyeless In Gaza,
Stetsasonic,
Marine Girls,
The Blues Magoos,
Roy Ayers Ubiquity,
Deutsch Amerikanische Freundschaft,
Richard Hell and the Voidoids,
The Smiths,
Scan 7,
The Litter,
Crime,
Tubeway Army,
the Human League,
Eric B and Rakim,
DNA,
Gichy Dan,
Aural Exciters,
London Community Gospel Choir,
The Gun Club,
Fear,
Surgeon,
Throbbing Gristle,
Unrelated Segments,
Joensuu 1685,
MC5,
Rites of Spring,
Average White Band,
Fort Wilson Riot,
Lindisfarne,
Lungfish,
The Sonics,
Jacob Miller,
Masters at Work,
cv313,
Joe Smooth,
Vladislav Delay,
Suburban Knight,
The Zeros,
Slave, Slave, Slave, Slave.
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.