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 Sudan and from Woodstock.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1973.
I'm losing my edge.
To all the kids in Paris and Mexico City.
I'm losing my edge to the art-school Glasgow 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 arpeggiator 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 The Pop Group to the grime kids.
I played it at the Troubador.
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 Terry Callier. All the underground hits.
All Lou Christie tracks. I heard you have a vinyl of every Agent Orange record on German import.
I heard that you have a white label of every seminal dance 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 an organ and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Arab on Radar record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Foxx,
Ajijia Myrayebe,
Skaos,
Matthew Halsall,
Peter and Kerry,
A Certain Ratio,
Bluetip,
The Alarm Clocks,
Deepchord,
Barry Ungar,
Kurtis Blow,
John Coltrane,
Harry Pussy,
Roxy Music,
Jacob Miller,
Peter & Gordon,
Saccharine Trust,
Pete Rock & C.L. Smooth,
Marcia Griffiths,
The Shadows of Knight,
Orchestral Manoeuvres in the Dark,
Shoche,
Parry Music,
The Wake,
Neu!,
Los Fastidios,
The Evens,
Erykah Badu,
Masters at Work,
Bobby Byrd,
Roy Ayers,
Siglo XX,
Flash Fearless,
Lungfish,
Tom Boy,
Joe Finger,
The Electric Prunes,
Infiniti,
Jimmy McGriff,
Negative Approach,
The Dave Clark Five,
DJ Sneak,
James Chance & The Contortions,
Grandmaster Flash and the Furious Five,
The Cowsills,
The Real Kids,
Man Eating Sloth,
The Fuzztones,
Intrusion,
Country Teasers,
Loose Ends,
Stockholm Monsters,
Ten City,
ABC,
Easy Going,
Aural Exciters,
Isaac Hayes,
Todd Rundgren,
Bill Near,
It's A Beautiful Day,
Flamin' Groovies, Flamin' Groovies, Flamin' Groovies, Flamin' Groovies.
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.