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 Iceland and from Paris.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1971.
I'm losing my edge.
To all the kids in London and Glasgow.
I'm losing my edge to the art-school Tehran 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 rhodes sounds with much patience.
I was there when Robert Palmer 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 Marcia Griffiths to the funk 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 Theoretical Girls. All the underground hits.
All Matthew Halsall tracks. I heard you have a vinyl of every Terrestrial Tones record on German import.
I heard that you have a white label of every seminal electroclash 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 marimba and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Kango’s Stein Massive record.
I hear that you and your band have sold your harpsichord and bought a guitar.
I hear that you and your band have sold your guitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Kinks,
Minor Threat,
Johnny Clarke,
Yellowson,
Shuggie Otis,
Angels of Light & Akron/Family,
Nils Olav,
Franke,
Susan Cadogan,
Gian Franco Pienzio,
Don Cherry,
The Busters,
Subhumans,
The Toasters,
Big Daddy Kane,
Matthew Halsall,
Godley & Creme,
Shoche,
Donny Hathaway,
The Doobie Brothers,
Arthur Verocai,
Lakeside,
Zero Boys,
Darondo,
Scan 7,
Lee Hazlewood,
The Invisible,
Crispy Ambulance,
Rapeman,
Kevin Saunderson,
Matthew Bourne,
Oneida,
Bluetip,
The Zeros,
DeepChord presents Echospace,
The Count Five,
Lalann,
Visionaries,LMNO, T- Love & Iriscience,
K-Klass,
Marc Romboy vs. Booka Shade,
F. McDonald,
Sunsets and Hearts,
The Music Machine,
The Buckinghams,
Wolf Eyes,
Stockholm Monsters,
Wighnomy Brothers & Robag Wruhme,
Ultravox,
John Cale,
Harry Pussy,
Clear Light,
Kerrie Biddell,
Fat Boys,
Yaz,
Bobby Sherman,
Quando Quango,
Brass Construction,
The Fortunes,
Banda Bassotti,
Brick,
Warren Ellis, Warren Ellis, Warren Ellis, Warren Ellis.
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.