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 Ethiopia and from Manchester.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Shanghai and Columbus.
I'm losing my edge to the art-school Bremen 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 1984 at the first Arcadia practice in a loft in London.
I was working on the chamberlin 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 The Remains to the techno kids.
I played it at Cafe Wha.
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 Mojo Men. All the underground hits.
All Agitation Free tracks. I heard you have a vinyl of every Stetsasonic 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 '70s.
I hear you're buying a theremin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Sight & Sound record.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Royal Trux,
Jacob Miller,
Deakin,
Pharaoh Sanders and the Fire Engines,
The Standells,
Mad Mike,
Junior Murvin,
The Move,
Make Up,
Icehouse,
Notorious Big And Bone Thugs,
Black Bananas,
Neil Young & Crazy Horse,
Faraquet,
Don Cherry,
Skarface,
The Electric Prunes,
The Young Rascals,
Bill Wells,
Lakeside,
Porter Ricks,
Alison Limerick,
Henry Cow,
Inner City,
Ludus,
10cc,
Major Organ And The Adding Machine,
Jesper Dahlbäck,
the Soft Cell,
Dead Boys,
Heaven 17,
Godley & Creme,
The Trojans,
Cecil Taylor,
The Blues Magoos,
Dorothy Ashby,
FM Einheit,
Swell Maps,
Funkadelic,
Archie Shepp,
Brass Construction,
Eric B and Rakim,
Mandrill,
Roxette,
Alice Coltrane,
The Zeros,
The Walker Brothers,
Sun City Girls,
Lafayette Afro Rock Band,
DJ Style,
The Litter,
Lonnie Liston Smith,
Sister Nancy,
Funky Four + One,
Connie Case,
Mars,
Eve St. Jones,
The Seeds,
Thompson Twins,
Grandmaster Flash and the Furious Five,
It's A Beautiful Day,
Depeche Mode,
Camouflage, Camouflage, Camouflage, Camouflage.
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.