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 Mozambique and from Winnipeg.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Edmonton and Beijing.
I'm losing my edge to the art-school Sao Paulo 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 güiro sounds with much patience.
I was there when Holger Czukay 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 Infiniti to the jazz 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 The Neon Judgement. All the underground hits.
All Avey Tare's Slasher Flicks tracks. I heard you have a vinyl of every the Soft Cell 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 '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Maurizio record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siglo XX,
The Skatalites,
John Coltrane,
EPMD,
R.M.O.,
Tres Demented,
Kayak,
Quantec,
Severed Heads,
Camron Feat. Memphis Bleek And Beenie Seigel,
Little Man,
The Five Americans,
Peter & Gordon,
Smog,
Roy Ayers Ubiquity,
Guru Guru,
Roxette,
Porter Ricks,
Sight & Sound,
Kerrie Biddell,
Sister Nancy,
Quadrant,
Visage,
Peter Gordon & Love of Life Orchestra,
Parry Music,
The Sisters of Mercy,
Lou Reed & John Cale,
The Fortunes,
Clear Light,
Second Layer,
Gian Franco Pienzio,
Girls At Our Best!,
Mandrill,
10cc,
Man Parrish,
Sex Pistols,
The Fall,
Rapeman,
Sandy B,
Funkadelic,
Los Fastidios,
Nils Olav,
Heaven 17,
The Associates,
Rhythim Is Rhythim,
Au Pairs,
Wings,
Davy DMX,
The Motions,
John Holt,
New Age Steppers,
The Cure,
Flamin' Groovies,
Lindisfarne,
Talk Talk,
Sugar Minott,
Soft Machine,
The Dead C,
Japan,
DeepChord presents Echospace,
Soul Sonic Force,
Rahsaan Roland Kirk,
Terry Callier,
Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire.
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.