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 Ireland and from Paris.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Winnipeg and Delhi.
I'm losing my edge to the art-school Copenhagen 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 clarinet sounds with much patience.
I was there when Nile Rodgers 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 AZ 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 Scratch Acid. All the underground hits.
All Shuggie Otis tracks. I heard you have a vinyl of every The Moleskins 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 '80s cut and another box set from the '80s.
I hear you're buying a synthesizer and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Cowsills record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gichy Dan,
Dawn Penn,
The Kinks,
The Busters,
Todd Rundgren,
Nils Olav,
The Dave Clark Five,
Suicide,
Grauzone,
Godley & Creme,
Brick,
Excepter,
The Saints,
Moebius,
Skriet,
D'Angelo,
Gastr Del Sol,
Grey Daturas,
Easy Going,
Orchestral Manoeuvres in the Dark,
Harpers Bizarre,
Schoolly D,
Adolescents,
Unwound,
James Chance & The Contortions,
Kauko Röyhkä ja Narttu,
Outsiders,
Spandau Ballet,
Pulsallama,
Pharaoh Sanders and the Fire Engines,
Sun Ra Arkestra,
Das Ding,
Sexual Harrassment,
Charles Mingus,
Niagra,
Vainqueur,
Dual Sessions,
Spoonie Gee,
Franke,
Cabaret Voltaire,
Selector Dub Narcotic,
Lee Hazlewood,
Blake Baxter,
Marc Almond,
DeepChord presents Echospace,
Symarip,
Neu!,
Masters at Work,
Camouflage,
Los Fastidios,
The Blues Magoos,
Drexciya,
Sällskapet,
Gil Scott-Heron and Jamie xx,
Ohio Players,
Severed Heads,
Graham Central Station,
Traffic Nightmare,
Talk Talk,
Fluxion,
Barry Ungar,
Zapp,
Patti Smith,
Bush Tetras,
Tubeway Army, Tubeway Army, Tubeway Army, Tubeway Army.
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.