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 Bahamas and from Spokane.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Johannesburg and Manila.
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 harpsichord 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 the Slits to the electroclash kids.
I played it at the Spitz.
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 One Last Wish. All the underground hits.
All Donny Hathaway tracks. I heard you have a vinyl of every AZ 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 '60s cut and another box set from the '80s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Half Japanese record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Schoolly D,
Soulsonic Force,
The Beau Brummels,
E-Dancer,
Groovy Waters,
The Music Machine,
DJ Style,
Maleditus Sound,
Lou Reed & John Cale,
The Remains,
The Cowsills,
Anakelly,
The Dead C,
Shuggie Otis,
Eric B and Rakim,
The Cosmic Jokers,
Popol Vuh,
Symarip,
The Smoke,
Dennis Brown,
Toni Rubio,
Susan Cadogan,
Desert Stars,
Fad Gadget,
Lyres,
The Raincoats,
Kerrie Biddell,
Flipper,
Flash Fearless,
Stockholm Monsters,
Oneida,
Hot Snakes,
Pet Shop Boys,
Make Up,
Intrusion,
The Black Dice,
Wire,
ABBA,
The Detroit Cobras,
Andrew Ashong & Theo Parrish,
The Gun Club,
Marine Girls,
The Monochrome Set,
Lindisfarne,
Dorothy Ashby,
Smog,
Super Lover Cee & Casanova Rud,
Supertramp,
OOIOO,
Ash Ra Tempel,
Man Parrish,
Y Pants,
The Names,
Deepchord,
Loose Ends,
Cybotron,
Royal Trux,
It's A Beautiful Day,
Junior Murvin,
Marmalade,
Vladislav Delay, Vladislav Delay, Vladislav Delay, Vladislav Delay.
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.