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 United States and from Lyon.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1968 to 1975.
I'm losing my edge.
To all the kids in Bremen and Tehran.
I'm losing my edge to the art-school Tokyo 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 808 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 Divine Comedy to the disco 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 Vaughan Mason & Crew. All the underground hits.
All Roy Ayers Ubiquity tracks. I heard you have a vinyl of every The Doobie Brothers record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a theremin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Susan Cadogan record.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Wells,
Camouflage,
Aswad,
Deutsch Amerikanische Freundschaft,
Loose Ends,
Larry & the Blue Notes,
Grauzone,
The Neon Judgement,
The Smiths,
The Residents,
Clear Light,
Nik Kershaw,
Ultimate Spinach,
Al Stewart,
Barrington Levy,
Gang Green,
Funkadelic,
The Gladiators,
MC5,
Kauko Röyhkä ja Narttu,
The Monks,
Von Mondo,
Kango’s Stein Massive,
Rites of Spring,
Morten Harket,
Cal Tjader,
Young Marble Giants,
Don Cherry,
UT,
Q and Not U,
Procol Harum,
Monolake,
Derrick Morgan,
Kas Product,
Eyeless In Gaza,
Tom Boy,
The Angels of Light,
Niagra,
Soul II Soul,
Underground Resistance,
The Modern Lovers,
Vainqueur,
Derrick May,
Flash Fearless,
Roy Ayers,
The Five Americans,
Mantronix,
Curtis Mayfield,
Pagans,
Andrew Ashong & Theo Parrish,
Fela Kuti,
Sly & The Family Stone,
Suicide,
Spandau Ballet,
Lou Reed,
Hasil Adkins,
Darondo,
Tomorrow,
Shoche,
Roger Hodgson,
Aloha Tigers,
Rod Modell, Rod Modell, Rod Modell, Rod Modell.
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.