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 Nepal and from Bologna.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Portland and Taipei.
I'm losing my edge to the art-school London 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 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 Stockholm Monsters to the techno 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 Barbara Tucker. All the underground hits.
All Dr. Dre and Snoop Doggy Dog tracks. I heard you have a vinyl of every the Sonics 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 '80s cut and another box set from the '80s.
I hear you're buying a theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Arab on Radar record.
I hear that you and your band have sold your sitar and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jeff Lynne,
Niagra,
Camberwell Now,
Minnie Riperton,
Masters at Work,
Angry Samoans,
Kool G Rap & DJ Polo,
Kayak,
Groovy Waters,
The Names,
Oneida,
Theoretical Girls,
cv313,
Scratch Acid,
Derrick Morgan,
Television Personalities,
Q65,
OOIOO,
Infiniti,
Schoolly D,
Soft Cell,
X-101,
Kauko Röyhkä ja Narttu,
Kevin Saunderson,
Black Sheep,
Eric B and Rakim,
Michelle Simonal,
MDC,
Josef K,
The Slits,
Barry Ungar,
Eve St. Jones,
Colin Newman,
The American Breed,
This Heat,
Radiopuhelimet,
Laurel Aitken,
Wire,
Harpers Bizarre,
Jacob Miller,
the Swans,
The Shadows of Knight,
Soulsonic Force,
DJ Sneak,
The Zeros,
Reuben Wilson,
Goldenarms,
Maleditus Sound,
Byron Stingily,
The Red Krayola,
Kango’s Stein Massive,
Gang Starr,
Little Man,
Leonard Cohen,
Inner City,
Warren Ellis,
Avey Tare,
K-Klass,
Babytalk,
Curtis Mayfield,
The Electric Prunes,
Smog,
Stockholm Monsters,
Aural Exciters, Aural Exciters, Aural Exciters, Aural Exciters.
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.