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 Singapore and from Jakarta.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1967 to 1973.
I'm losing my edge.
To all the kids in Salvador and Toronto.
I'm losing my edge to the art-school Woodstock 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 mellotron sounds with much patience.
I was there when Michael McDonald 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 Tubeway Army to the dance kids.
I played it at the Hacienda.
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 Black Bananas. All the underground hits.
All The Blackbyrds tracks. I heard you have a vinyl of every Monks 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 '50s cut and another box set from the '90s.
I hear you're buying a sitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Fire Engines record.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alison Limerick,
The Last Poets,
Henry Cow,
Laurel Aitken,
Deakin,
Rapeman,
Girls At Our Best!,
The Music Machine,
Susan Cadogan,
Pulsallama,
The Cowsills,
the Association,
Crime,
Ludus,
Mary Jane Girls,
Niagra,
The Dead C,
MDC,
Rowland S Howard / Lydia Lunch,
Roy Ayers,
Cabaret Voltaire,
Marvin Gaye,
The Birthday Party,
Rhythim Is Rhythim,
Tears for Fears,
Ronan,
Archie Shepp,
Maleditus Sound,
Kevin Saunderson,
Stockholm Monsters,
Funkadelic,
Bush Tetras,
Liaisons Dangereuses,
Television Personalities,
Mantronix,
Metal Thangz,
cv313,
Can,
Mr. Review,
Toni Rubio,
The West Coast Pop Art Experimental Band,
The Dave Clark Five,
The Red Krayola,
Bill Wells,
Underground Resistance,
Lalo Schifrin,
Amon Düül II,
Aaron Thompson,
Delta 5,
Barrington Levy,
Masters at Work,
Outsiders,
Johnny Osbourne,
Simply Red,
Alice Coltrane,
Junior Murvin,
Basic Channel,
Sun City Girls,
Sugar Minott,
Qualms,
The Detroit Cobras,
The Count Five,
AZ,
New Age Steppers, New Age Steppers, New Age Steppers, New Age Steppers.
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.