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 Gambia and from Stockholm.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Manchester and Mumbai.
I'm losing my edge to the art-school Mexico City 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 mellotron 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 Sly & The Family Stone to the funk kids.
I played it at the Spitz.
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 Suburban Knight. All the underground hits.
All Ronnie Foster tracks. I heard you have a vinyl of every Qualms record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an organ and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Rhythim Is Rhythim record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Clear Light,
Icehouse,
The Raincoats,
Section 25,
Television Personalities,
Lou Christie,
Radiopuhelimet,
Delon & Dalcan,
Sly & The Family Stone,
Magma,
Sad Lovers and Giants,
Fela Kuti,
The Stooges,
Dual Sessions,
Audionom,
Lyres,
Intrusion,
Panda Bear,
The Slits,
The Peanut Butter Conspiracy,
Avey Tare's Slasher Flicks,
Nik Kershaw,
Andrew Hill,
Roy Ayers Ubiquity,
Ken Boothe,
the Slits,
Warren Ellis,
Suicide,
Vaughan Mason & Crew,
Beasts of Bourbon,
ABBA,
Country Joe & The Fish,
Rowland S Howard / Lydia Lunch,
Stockholm Monsters,
Donny Hathaway,
Deepchord,
Harpers Bizarre,
Jacques Brel,
F. McDonald,
John Holt,
It's A Beautiful Day,
Arcadia,
Janne Schatter,
Notorious Big And Bone Thugs,
Pussy Galore,
the Sonics,
Marmalade,
Crime,
June Days,
John Foxx,
Matthew Halsall,
Moby Grape,
The Wake,
EPMD,
X-Ray Spex,
Flamin' Groovies,
The Litter,
The New Christs,
Lebanon Hanover,
Gil Scott Heron,
Zapp, Zapp, Zapp, Zapp.
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.