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 Seoul.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Milan and Beijing.
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 1984 at the first Arcadia practice in a loft in London.
I was working on the synthesizer 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 Gichy Dan to the punk kids.
I played it at the Astoria.
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 Maurizio. All the underground hits.
All Banda Bassotti tracks. I heard you have a vinyl of every The Last Poets 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 '70s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a theremin 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 sitar.
I hear that you and your band have sold your sitar 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?
Tears for Fears,
Ultramagnetic MC's,
Interpol,
Derrick May,
Marine Girls,
Unrelated Segments,
Avey Tare & Kría Brekkan,
La Düsseldorf,
The Monochrome Set,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Selector Dub Narcotic,
48th St. Collective,
Rowland S Howard / Lydia Lunch,
The Misunderstood,
Subhumans,
Niagra,
The Wake,
June Days,
Flash Fearless,
Au Pairs,
Ice-T,
Dorothy Ashby,
Saccharine Trust,
Tom Boy,
Richard Hell and the Voidoids,
Peter and Kerry,
Whodini,
James Chance & The Contortions,
Wighnomy Brothers & Robag Wruhme,
Crispian St. Peters,
Jerry Gold Smith,
Bill Near,
Alton Ellis,
Godley & Creme,
Sun City Girls,
Derrick Morgan,
Khruangbin,
The Cramps,
Sound Behaviour,
Vaughan Mason & Crew,
E-Dancer,
The Cosmic Jokers,
Marshall Jefferson,
Visage,
The Slits,
Icehouse,
Bang On A Can,
AZ,
Amon Düül,
Delon & Dalcan,
Kas Product,
Mandrill,
The Remains,
Crispy Ambulance,
Quadrant,
Amon Düül II,
DJ Style,
Sam Rivers,
Jacques Brel,
The Busters,
T.S.O.L.,
Outsiders,
Max Romeo, Max Romeo, Max Romeo, Max Romeo.
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.