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 Tunisia and from Bologna.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Manchester and Bologna.
I'm losing my edge to the art-school Delhi 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the rhodes 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 Supertramp to the jazz kids.
I played it at Cafe Wha.
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 Skaos. All the underground hits.
All Selector Dub Narcotic tracks. I heard you have a vinyl of every The Litter record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Cluster record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Franke,
Kango’s Stein Massive,
The Smoke,
Ornette Coleman,
FM Einheit,
Zapp,
Stereo Dub,
B.T. Express,
The Selecter,
Bobby Womack,
Albert Ayler,
Pere Ubu,
The Invisible,
Lightning Bolt,
Country Joe & The Fish,
Hashim,
Gang Gang Dance,
Ronnie Foster,
Unwound,
T. Rex,
Oppenheimer Analysis,
The Leaves,
Andrew Ashong & Theo Parrish,
The Slits,
Amazonics,
Siglo XX,
Black Sheep,
Masters at Work,
Subhumans,
Bizarre Inc.,
Das Ding,
Eddi Front,
The Mojo Men,
The Golliwogs,
Man Parrish,
Harmonia,
Negative Approach,
Bobby Byrd,
Soft Machine,
The United States of America,
These Immortal Souls,
Trumans Water,
Teenage Jesus and the Jerks,
The Trojans,
Excepter,
The Raincoats,
The Victims,
Kas Product,
Traffic Nightmare,
Saccharine Trust,
Pet Shop Boys,
Au Pairs,
Throbbing Gristle,
Stetsasonic,
The Velvet Underground,
Alison Limerick,
The Royal Family And The Poor,
It's A Beautiful Day,
Fatback Band, Fatback Band, Fatback Band, Fatback Band.
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.