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 Swaziland and from Cairo.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Glasgow and Bologna.
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 1978 at the first Visage practice in a loft in London.
I was working on the synthesizer 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 Q and Not U to the techno kids.
I played it at the Roxy.
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 T. Rex. All the underground hits.
All Minny Pops tracks. I heard you have a vinyl of every Cymande 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 '70s cut and another box set from the '90s.
I hear you're buying a clarinet and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Tres Demented record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sly & The Family Stone,
R.M.O.,
Morten Harket,
Art Ensemble Of Chicago,
Infiniti,
Banda Bassotti,
Dual Sessions,
X-102,
Tom Boy,
The Durutti Column,
Sister Nancy,
Country Joe & The Fish,
Avey Tare,
Susan Cadogan,
Can,
The J.B.'s,
Graham Central Station,
Lizzy Mercier Descloux,
Television,
Delta 5,
Youth Brigade,
Roxette,
Eli Mardock,
Make Up,
Boz Scaggs,
Lou Christie,
Mr. Review,
Kauko Röyhkä ja Narttu,
Angry Samoans,
DeepChord presents Echospace,
Suicide,
Steve Hackett,
Public Enemy,
Amazonics,
Monolake,
Black Sheep,
Massinfluence,
Aswad,
Roger Hodgson,
Teenage Jesus and the Jerks,
The Cure,
Au Pairs,
Second Layer,
The Skatalites,
the Soft Cell,
Red Lorry Yellow Lorry,
David Axelrod,
Marcia Griffiths,
Con Funk Shun,
OOIOO,
Bootsy's Rubber Band,
John Cale,
Pharoah Sanders,
Andrew Hill,
The Divine Comedy,
Andrew Ashong & Theo Parrish,
Section 25,
Radio Birdman,
The Alarm Clocks,
Bill Wells,
Bobby Sherman, Bobby Sherman, Bobby Sherman, Bobby Sherman.
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.