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 Fiji and from Salvador.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Mexico City and Woodstock.
I'm losing my edge to the art-school Bologna 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 guitar sounds with much patience.
I was there when Robert Palmer 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 Stockholm Monsters 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 Reagan Youth. All the underground hits.
All The Royal Family And The Poor tracks. I heard you have a vinyl of every Heavy D & The Boyz record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an oboe and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Clear Light record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Blues Magoos,
The Raincoats,
Can,
Fatback Band,
Robert Görl,
Lightning Bolt,
Sly & The Family Stone,
Crooked Eye,
Darondo,
Monks,
Lalann,
Scientists,
Gregory Isaacs,
Grey Daturas,
Radiohead,
Kenny Larkin,
Talk Talk,
Hardrive,
Manfred Mann's Earth Band,
Sonny Sharrock,
Amazonics,
The Grass Roots,
R.M.O.,
Pylon,
Strawberry Alarm Clock,
Sun Ra Arkestra,
The Neon Judgement,
Grauzone,
Joey Negro,
Alison Limerick,
Slave,
Andrew Ashong & Theo Parrish,
The Velvet Underground,
The Move,
Agent Orange,
Tropical Tobacco,
Ten City,
Metal Thangz,
Dual Sessions,
The West Coast Pop Art Experimental Band,
Pantytec,
The Beau Brummels,
Skaos,
The Slackers,
The Divine Comedy,
Reagan Youth,
Amon Düül II,
Bobby Sherman,
Lungfish,
Goldenarms,
Essential Logic,
The Electric Prunes,
Yellowson,
T. Rex,
Patti Smith,
The Slits,
Monolake,
Big Daddy Kane,
Soul II Soul,
Nico,
Nik Kershaw,
Grandmaster Flash and the Furious Five,
David McCallum, David McCallum, David McCallum, David McCallum.
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.