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 Barbados and from Mexico City.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1979.
I'm losing my edge.
To all the kids in London and Woodstock.
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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the oboe sounds with much patience.
I was there when David Bowie 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 AZ to the funk kids.
I played it at the Hacienda.
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 Rotary Connection. All the underground hits.
All Ronnie Foster tracks. I heard you have a vinyl of every Aaron Thompson record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a snare and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Make Up record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
World's Most,
John Coltrane,
Agitation Free,
Stetsasonic,
Brand Nubian,
The American Breed,
Radio Birdman,
Ken Boothe,
Colin Newman,
Ossler,
Ultra Naté,
The Alarm Clocks,
Delon & Dalcan,
Chrome,
the Germs,
Ronnie Foster,
Black Pus,
Outsiders,
Camron Feat. Memphis Bleek And Beenie Seigel,
Quadrant,
Fluxion,
Eden Ahbez,
Teenage Jesus and the Jerks,
X-102,
It's A Beautiful Day,
Popol Vuh,
Joy Division,
48th St. Collective,
The Seeds,
Angels of Light & Akron/Family,
Arthur Verocai,
Pole,
Terror Squad Feat. Camron,
Gil Scott-Heron and Jamie xx,
Liaisons Dangereuses,
The Pretty Things,
Mo-Dettes,
Kaleidoscope,
Parry Music,
Barry Ungar,
Prince Buster,
Gang of Four,
The Martian,
Marine Girls,
Kenny Larkin,
Flipper,
The Golliwogs,
Zapp,
This Heat,
Bobbi Humphrey,
Public Enemy,
Traffic Nightmare,
Gabor Szabo,
Todd Terry,
Banda Bassotti,
Kerrie Biddell,
Angry Samoans,
Ultimate Spinach,
Sugar Minott,
Pylon,
China Crisis, China Crisis, China Crisis, China Crisis.
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.