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 Brunei and from Toronto.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1969 to 1977.
I'm losing my edge.
To all the kids in Lille and Philadelphia.
I'm losing my edge to the art-school Milan 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 harpsichord sounds with much patience.
I was there when Nile Rodgers 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 Alarm Clocks to the jazz kids.
I played it at the Astoria.
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 Infiniti. All the underground hits.
All Brothers Johnson tracks. I heard you have a vinyl of every Spandau Ballet record on German import.
I heard that you have a white label of every seminal dance 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 theremin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a London Community Gospel Choir record.
I hear that you and your band have sold your oboe and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
A Certain Ratio,
Bobby Womack,
Public Enemy,
Crime,
In Retrospect,
Man Parrish,
The Buckinghams,
T.S.O.L.,
Stetsasonic,
B.T. Express,
Soul II Soul,
Nation of Ulysses,
Rotary Connection,
Little Man,
Jeff Lynne,
The Young Rascals,
Deadbeat,
Grandmaster Flash and the Furious Five,
Gong,
Easy Going,
Blake Baxter,
Kool Moe Dee,
Adolescents,
The Music Machine,
The Blues Magoos,
Ponytail,
Television Personalities,
Moebius,
Scott Walker,
Freddie Wadling,
FM Einheit,
Lower 48,
Guru Guru,
The Evens,
Archie Shepp,
Lucky Dragons,
Maurizio,
Peter & Gordon,
Harpers Bizarre,
The Golliwogs,
Half Japanese,
Mr. Review,
Derrick Morgan,
Erasure,
Morten Harket,
Gabor Szabo,
Bluetip,
Davy DMX,
Lakeside,
Saccharine Trust,
Sun Ra Arkestra,
Robert Hood,
Fugazi,
X-102,
Ohio Players,
Hasil Adkins,
Reuben Wilson,
Chris Corsano,
The Vogues,
Interpol,
Radio Birdman,
Nick Cave & The Bad Seeds, Nick Cave & The Bad Seeds, Nick Cave & The Bad Seeds, Nick Cave & The Bad Seeds.
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.