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 Nigeria and from Copenhagen.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Beijing and Philadelphia.
I'm losing my edge to the art-school Bologna 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 oboe sounds with much patience.
I was there when David Bowie 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 The Shadows of Knight to the crunk kids.
I played it at the Crocodile.
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 Avey Tare's Slasher Flicks. All the underground hits.
All Lungfish tracks. I heard you have a vinyl of every Schoolly D record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a theremin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Offenders record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Heavy D & The Boyz,
Soul II Soul,
Cabaret Voltaire,
Bobby Byrd,
Donald Byrd,
Grandmaster Flash and the Furious Five,
Avey Tare's Slasher Flicks,
Sunsets and Hearts,
Cluster,
Fatback Band,
Eric B and Rakim,
Black Sheep,
Black Pus,
Nirvana,
Ash Ra Tempel,
Inner City,
Ralphi Rosario,
Barbara Tucker,
The Angels of Light,
The Evens,
Lindisfarne,
The Cosmic Jokers,
Henry Cow,
Make Up,
Joe Smooth,
The Mighty Diamonds,
Eddi Front,
Gong,
Derrick Morgan,
The Human League,
Boz Scaggs,
The Smiths,
Eric Copeland,
John Foxx,
Arthur Verocai,
Lalann,
Danielle Patucci,
Suicide,
Notorious Big And Bone Thugs,
Young Marble Giants,
Tomorrow,
Lee Hazlewood,
Gang Starr,
the Slits,
Beasts of Bourbon,
Crime,
Minnie Riperton,
Warren Ellis,
Judy Mowatt,
Can,
Angry Samoans,
Orchestral Manoeuvres in the Dark,
Marine Girls,
Deakin,
Nick Fraelich,
Section 25,
Gil Scott Heron,
Stetsasonic,
London Community Gospel Choir,
Ultramagnetic MC's, Ultramagnetic MC's, Ultramagnetic MC's, Ultramagnetic MC's.
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.