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 Italy and from Manchester.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1971.
I'm losing my edge.
To all the kids in Halifax and Stockholm.
I'm losing my edge to the art-school London 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 808 sounds with much patience.
I was there when Michael McDonald 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 A Flock of Seagulls to the techno kids.
I played it at Trash.
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 Gil Scott-Heron and Jamie xx. All the underground hits.
All Rowland S Howard / Lydia Lunch tracks. I heard you have a vinyl of every Larry & the Blue Notes record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a guitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Names record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camberwell Now,
Bizarre Inc.,
Gang Starr,
Stereo Dub,
Soft Cell,
Bobby Byrd,
Aaron Thompson,
Byron Stingily,
Q and Not U,
John Holt,
Lalann,
Kango’s Stein Massive,
The Modern Lovers,
Cluster,
Bauhaus,
Little Man,
The Neon Judgement,
James White and The Blacks,
The Cure,
The Chocolate Watch Band,
Sun Ra Arkestra,
Panda Bear,
Godley & Creme,
Second Layer,
Young Marble Giants,
The Alarm Clocks,
The Blues Magoos,
Sällskapet,
Kool G Rap & DJ Polo,
Gil Scott-Heron & Brian Jackson,
The Index,
Jimmy McGriff,
Basic Channel,
Pantaleimon,
Warren Ellis,
Todd Terry,
Sandy B,
Jesper Dahlback,
Roy Ayers Ubiquity,
These Immortal Souls,
June of 44,
Peter Gordon & Love of Life Orchestra,
Erasure,
The Cramps,
Magazine,
Jacob Miller,
The Invisible,
Theoretical Girls,
Organ,
Groovy Waters,
Rekid,
Tres Demented,
Andrew Ashong & Theo Parrish,
De La Soul & Jungle Brothers,
The New Christs,
Soft Machine,
Electric Light Orchestra,
the Association,
Reuben Wilson,
Motorama,
Funky Four + One, Funky Four + One, Funky Four + One, Funky Four + One.
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.