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 Syria and from Jakarta.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1975.
I'm losing my edge.
To all the kids in Taipei and Lille.
I'm losing my edge to the art-school Paris 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 marimba 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 Schoolly D to the disco 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 Ohio Players. All the underground hits.
All H. Thieme tracks. I heard you have a vinyl of every Underground Resistance record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a marimba and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Unwound record.
I hear that you and your band have sold your oboe and bought a theremin.
I hear that you and your band have sold your theremin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pylon,
James Chance & The Contortions,
Deadbeat,
Vainqueur,
Bobby Hutcherson,
Oneida,
Minor Threat,
Sarah Menescal,
Kango’s Stein Massive,
Suicide,
Bronski Beat,
Brand Nubian,
CMW,
Gang Starr,
FM Einheit,
Jesper Dahlbäck,
The Busters,
Barrington Levy,
Bobby Sherman,
Harry Pussy,
The Moleskins,
Q65,
T. Rex,
E-Dancer,
Lonnie Liston Smith,
Flipper,
Oppenheimer Analysis,
Pharoah Sanders,
The Gladiators,
Sonny Sharrock,
Grauzone,
Eurythmics,
The Doors,
The Trojans,
Cecil Taylor,
Amazonics,
Amon Düül,
Supertramp,
Kaleidoscope,
Funkadelic,
Skriet,
Patti Smith,
Unwound,
Kurtis Blow,
Lungfish,
the Human League,
The Modern Lovers,
Schoolly D,
Gerry Rafferty,
Max Romeo,
The Durutti Column,
Warren Ellis,
Jerry Gold Smith,
Peter Gordon & Love of Life Orchestra,
Mr. Review,
Brothers Johnson,
Flash Fearless,
Dawn Penn,
Second Layer,
Cameo,
Connie Case,
John Lydon,
The Men They Couldn't Hang,
Glambeats Corp., Glambeats Corp., Glambeats Corp., Glambeats Corp..
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.