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 the UAE and from Milan.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1972.
I'm losing my edge.
To all the kids in Seoul and London.
I'm losing my edge to the art-school Lyon 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 synthesizer sounds with much patience.
I was there when Tom Verlaine 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 Slave to the funk 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 Terrestrial Tones. All the underground hits.
All Chrome tracks. I heard you have a vinyl of every Rakim record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a clarinet and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a B.T. Express record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cabaret Voltaire,
Graham Central Station,
The Residents,
Avey Tare's Slasher Flicks,
Joy Division,
Gang Green,
The Motions,
Schoolly D,
The Standells,
Nik Kershaw,
The Velvet Underground,
Visionaries,LMNO, T- Love & Iriscience,
Davy DMX,
Banda Bassotti,
Suburban Knight,
Silicon Teens,
Joe Smooth,
Ituana,
Interpol,
Tears for Fears,
The Slackers,
Con Funk Shun,
The Fortunes,
Television,
The Smoke,
8 Eyed Spy,
10cc,
Grauzone,
X-101,
Kings Of Tomorrow,
The Doobie Brothers,
Hashim,
Fluxion,
Agent Orange,
David Axelrod,
One Last Wish,
DeepChord presents Echospace,
Gregory Isaacs,
The Pretty Things,
Tom Boy,
Eurythmics,
R.M.O.,
Bill Wells,
Beasts of Bourbon,
The Mojo Men,
Ajijia Myrayebe,
Arab on Radar,
Joe Finger,
Notorious Big And Bone Thugs,
Donald Byrd,
Mission of Burma,
Robert Hood,
UT,
Swans,
the Fania All-Stars,
Au Pairs,
Minny Pops,
The Real Kids,
Mark Hollis,
Sly & The Family Stone,
Pussy Galore,
The Modern Lovers,
Throbbing Gristle,
The Selecter, The Selecter, The Selecter, The Selecter.
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.