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 Switzerland and from Portland.
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 Johannesburg.
I'm losing my edge to the art-school Manila 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the güiro 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 Deakin to the rap kids.
I played it at the Troubador.
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 Fire Engines. All the underground hits.
All Tears for Fears tracks. I heard you have a vinyl of every Arab on Radar record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an organ and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Siglo XX record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crooked Eye,
Justin Hinds & The Dominoes,
Thompson Twins,
Black Sheep,
The Toasters,
Rotary Connection,
Ronnie Foster,
Chris Corsano,
Radiopuhelimet,
Pierre Henry,
Franke,
Stockholm Monsters,
Dorothy Ashby,
The Shadows of Knight,
Traffic Nightmare,
The Red Krayola,
New Age Steppers,
A Certain Ratio,
Cymande,
Blake Baxter,
Bang On A Can,
Jandek,
Dead Boys,
Louis and Bebe Barron,
New York Dolls,
James White and The Blacks,
Pagans,
Adolescents,
Technova,
Severed Heads,
A Flock of Seagulls,
Sandy B,
Juan Atkins,
The Standells,
Derrick May,
Symarip,
Major Organ And The Adding Machine,
Avey Tare,
Reuben Wilson,
Soft Cell,
The Pop Group,
Aural Exciters,
Freddie Wadling,
The Monochrome Set,
Beasts of Bourbon,
Kas Product,
Ludus,
D'Angelo,
Bronski Beat,
cv313,
Deepchord,
Manfred Mann's Earth Band,
Model 500,
Stiv Bators,
Fugazi,
The Leaves,
the Association,
The Chocolate Watch Band,
Dark Day,
The Names,
Suburban Knight,
Roy Ayers Ubiquity, Roy Ayers Ubiquity, Roy Ayers Ubiquity, Roy Ayers Ubiquity.
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.