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 Kingdom and from Copenhagen.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Manchester and Paris.
I'm losing my edge to the art-school Lagos 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the oboe sounds with much patience.
I was there when Donald Fagen 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 Rekid to the grime 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 The Residents. All the underground hits.
All Underground Resistance tracks. I heard you have a vinyl of every Sällskapet record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a sitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a James White and The Blacks record.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Monochrome Set,
Sonic Youth,
Girls At Our Best!,
Barrington Levy,
Joensuu 1685,
Jacob Miller,
The Gladiators,
Roxette,
Al Stewart,
Donny Hathaway,
Notorious BIG live in Amsterdam,
Section 25,
The Smoke,
Neu!,
ABC,
Surgeon,
The Peanut Butter Conspiracy,
Ronan,
Quantec,
Pierre Henry,
Wighnomy Brothers & Robag Wruhme,
Fort Wilson Riot,
Bauhaus,
Nick Cave & The Bad Seeds,
Ossler,
Skarface,
Suburban Knight,
Delta 5,
Deutsch Amerikanische Freundschaft,
The Evens,
Judy Mowatt,
Electric Light Orchestra,
Zero Boys,
Television Personalities,
Vladislav Delay,
The Move,
Max Romeo,
Excepter,
Roger Hodgson,
The Sonics,
Clear Light,
Aswad,
Barbara Tucker,
Pantaleimon,
Gil Scott Heron,
Alice Coltrane,
Mission of Burma,
Bang on a Can All-Stars,
Brass Construction,
Peter & Gordon,
Shoche,
Man Eating Sloth,
Liliput,
a-ha,
Avey Tare,
Eurythmics,
Gil Scott-Heron & Brian Jackson,
Vaughan Mason & Crew,
Joe Finger,
Lou Reed & John Cale,
Bang On A Can,
Soul II Soul,
Bobby Byrd, Bobby Byrd, Bobby Byrd, Bobby Byrd.
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.