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 Zimbabwe and from Houston.
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 1970.
I'm losing my edge.
To all the kids in Toronto and Lyon.
I'm losing my edge to the art-school Johannesburg 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 Bronski Beat practice in a loft in Brixton.
I was working on the sitar 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 Fort Wilson Riot to the jazz 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 The Durutti Column. All the underground hits.
All The Fugs tracks. I heard you have a vinyl of every K-Klass record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Basic Channel record.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear that you and your band have sold your güiro 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?
The Gories,
Gian Franco Pienzio,
Skarface,
Matthew Halsall,
10cc,
The Litter,
Public Enemy,
Excepter,
the Fania All-Stars,
Hardrive,
Neu!,
The Associates,
Section 25,
Boogie Down Productions,
Deepchord,
Ultramagnetic MC's,
Sound Behaviour,
Vainqueur,
The Dirtbombs,
Kenny Larkin,
Fela Kuti,
Barry Ungar,
Parry Music,
Monks,
Robert Görl,
X-101,
Symarip,
Judy Mowatt,
Black Bananas,
X-102,
The Offenders,
Rhythm & Sound,
Los Fastidios,
Darondo,
The Five Americans,
Girls At Our Best!,
Davy DMX,
Kings Of Tomorrow,
Scratch Acid,
The Divine Comedy,
Donny Hathaway,
Drive Like Jehu,
June of 44,
Livin' Joy,
Rotary Connection,
Crash Course in Science,
Barbara Tucker,
Flamin' Groovies,
Little Man,
Fluxion,
Rites of Spring,
Arab on Radar,
Procol Harum,
Piero Umiliani,
Oppenheimer Analysis,
Harry Pussy,
Marc Romboy vs. Booka Shade,
Masters at Work,
Average White Band,
Stiv Bators, Stiv Bators, Stiv Bators, Stiv Bators.
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.