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 Australia and from New York.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1964 to 1978.
I'm losing my edge.
To all the kids in Sao Paulo and Shanghai.
I'm losing my edge to the art-school Houston 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 snare 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 Zero Boys to the jazz kids.
I played it at the Hacienda.
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 Cosmic Jokers. All the underground hits.
All The Durutti Column tracks. I heard you have a vinyl of every The Doobie Brothers record on German import.
I heard that you have a white label of every seminal electroclash 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 mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Fat Boys record.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Johnny Clarke,
Peter and Kerry,
Radio Birdman,
AZ,
The Modern Lovers,
Curtis Mayfield,
Bootsy Collins,
Moebius,
Avey Tare,
The Grass Roots,
Panda Bear,
Johnny Osbourne,
Procol Harum,
Deadbeat,
Sly & The Family Stone,
Red Lorry Yellow Lorry,
The New Christs,
Sex Pistols,
48th St. Collective,
Underground Resistance,
Saccharine Trust,
Archie Shepp,
Agitation Free,
Ponytail,
Roxette,
Funky Four + One,
Radiopuhelimet,
Trumans Water,
Skarface,
The Sisters of Mercy,
The Blues Magoos,
JFA,
Kauko Röyhkä ja Narttu,
Vladislav Delay,
L. Decosne,
The Jesus and Mary Chain,
The Sound,
Scrapy,
Marvin Gaye,
The Leaves,
Jimmy McGriff,
Stetsasonic,
New Age Steppers,
Ralphi Rosario,
Gang Starr,
Arab on Radar,
the Slits,
Brass Construction,
Bauhaus,
Judy Mowatt,
Wally Richardson,
Bobby Hutcherson,
Camberwell Now,
cv313,
Quando Quango,
Bizarre Inc.,
The Detroit Cobras,
Hashim,
Soft Cell,
Icehouse,
T.S.O.L.,
Bill Wells, Bill Wells, Bill Wells, Bill Wells.
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.