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 Montenegro and from Lyon.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 1972.
I'm losing my edge.
To all the kids in Columbus and Tehran.
I'm losing my edge to the art-school Tehran 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 organ 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 Sound Behaviour to the jazz kids.
I played it at the Troubador.
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 Matthew Bourne. All the underground hits.
All Jacob Miller tracks. I heard you have a vinyl of every Graham Central Station record on German import.
I heard that you have a white label of every seminal crunk 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 harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott-Heron & Brian Jackson record.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kango’s Stein Massive,
James White and The Blacks,
Boogie Down Productions,
Deepchord,
Tim Buckley,
Flipper,
Section 25,
Ponytail,
John Cale,
The Names,
Thompson Twins,
Vainqueur,
The Litter,
The Associates,
Nick Cave & The Bad Seeds,
Jeru the Damaja,
X-102,
Lower 48,
Public Image Ltd.,
Sound Behaviour,
Manfred Mann's Earth Band,
Quantec,
Fad Gadget,
Buzzcocks,
The Remains,
Vladislav Delay,
Bobby Sherman,
the Fania All-Stars,
Slave,
Fifty Foot Hose,
The Mummies,
Funky Four + One,
Magazine,
Jesper Dahlbäck,
Lou Christie,
Easy Going,
Agitation Free,
Schoolly D,
Electric Prunes,
Marc Romboy vs. Booka Shade,
Black Pus,
Amon Düül II,
Patti Smith,
Gil Scott-Heron and Jamie xx,
The Dave Clark Five,
Roxy Music,
The Doobie Brothers,
K-Klass,
Jawbox,
The Residents,
Joey Negro,
Grandmaster Flash and the Furious Five,
Iggy Pop,
X-Ray Spex,
X-101,
The Stooges,
Jerry's Kids,
ABC,
Country Joe & The Fish,
Connie Case,
Bill Near,
Radiopuhelimet, Radiopuhelimet, Radiopuhelimet, Radiopuhelimet.
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.