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 Guatemala 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 1962 to 1975.
I'm losing my edge.
To all the kids in Bologna and New York.
I'm losing my edge to the art-school Accra 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 synthesizer 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 Invisible to the rap kids.
I played it at the 40 Watt.
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 Smiths. All the underground hits.
All Siouxsie and the Banshees tracks. I heard you have a vinyl of every Roy Ayers Ubiquity 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 '50s cut and another box set from the '80s.
I hear you're buying a rhodes and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Aaron Thompson record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric Dolphy,
Half Japanese,
Grandmaster Flash and the Furious Five,
LL Cool J,
Sexual Harrassment,
Blancmange,
Lalo Schifrin,
Isaac Hayes,
Kings Of Tomorrow,
Todd Rundgren,
Das Ding,
Metal Thangz,
Sun Ra Arkestra,
Derrick May,
Neil Young & Crazy Horse,
Spandau Ballet,
Mad Mike,
Infiniti,
Josef K,
Ajijia Myrayebe,
The Remains,
Skarface,
Urselle,
Clear Light,
L. Decosne,
Qualms,
Lonnie Liston Smith,
Eurythmics,
Gichy Dan,
Judy Mowatt,
Severed Heads,
Livin' Joy,
Big Daddy Kane,
Aural Exciters,
The Seeds,
Moss Icon,
Bad Manners,
The Standells,
The Music Machine,
The Fortunes,
Justin Hinds & The Dominoes,
The Star Department,
Sonic Youth,
Maurizio,
Grey Daturas,
10cc,
The Misunderstood,
Bill Near,
Drive Like Jehu,
Frankie Knuckles,
Bush Tetras,
Fugazi,
Alison Limerick,
Yazoo,
James White and The Blacks,
China Crisis,
Sugar Minott,
8 Eyed Spy,
Jerry Gold Smith,
Yellowson,
the Swans,
Juan Atkins,
Fort Wilson Riot,
Tomorrow,
Model 500, Model 500, Model 500, Model 500.
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.