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 Maldives and from Glasgow.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Halifax and Johannesburg.
I'm losing my edge to the art-school Lagos 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 1978 at the first Visage practice in a loft in London.
I was working on the snare 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 Joe Smooth to the disco kids.
I played it at the Astoria.
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 Junior Murvin. All the underground hits.
All Bobby Sherman tracks. I heard you have a vinyl of every The Star Department record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a linndrum and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Mr. Review record.
I hear that you and your band have sold your organ and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Golliwogs,
Underground Resistance,
Nick Fraelich,
Sister Nancy,
Public Enemy,
Aloha Tigers,
The Vogues,
Richard Hell and the Voidoids,
Glambeats Corp.,
Funkadelic,
The Dave Clark Five,
Anakelly,
Marvin Gaye,
Smog,
The Slits,
Skaos,
Unrelated Segments,
Outsiders,
Thompson Twins,
Mad Mike,
Hasil Adkins,
Ponytail,
Lou Christie,
Theoretical Girls,
Monolake,
Robert Görl,
Derrick Morgan,
Judy Mowatt,
Mo-Dettes,
Bang On A Can,
Rosa Yemen,
Qualms,
Moebius,
Man Parrish,
Roy Ayers Ubiquity,
Laurel Aitken,
Avey Tare,
Eurythmics,
Rhythim Is Rhythim,
The Jesus and Mary Chain,
Notorious BIG live in Amsterdam,
Gang Gang Dance,
Notorious Big And Bone Thugs,
Parry Music,
Minutemen,
Davy DMX,
The Mighty Diamonds,
Chris Corsano,
Index,
the Association,
Basic Channel,
Rites of Spring,
Robert Hood,
Suicide,
DNA,
Fad Gadget,
Lonnie Liston Smith,
Thinking Fellers Union Local 282,
Angry Samoans,
Eyeless In Gaza,
John Coltrane, John Coltrane, John Coltrane, John Coltrane.
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.