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 Singapore and from Glasgow.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Philadelphia and Bologna.
I'm losing my edge to the art-school Woodstock 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 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 Susan Cadogan to the disco kids.
I played it at the Crocodile.
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 Funky Four + One. All the underground hits.
All Franke tracks. I heard you have a vinyl of every Marcia Griffiths record on German import.
I heard that you have a white label of every seminal rock 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 an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Eve St. Jones record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba 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?
The Jesus and Mary Chain,
Minnie Riperton,
The Walker Brothers,
The Real Kids,
Erasure,
Basic Channel,
Section 25,
Skarface,
Man Parrish,
Scion,
Donny Hathaway,
Morten Harket,
The Slits,
Gang Starr,
Buzzcocks,
Avey Tare & Kría Brekkan,
PIL,
Joe Smooth,
Lindisfarne,
Sunsets and Hearts,
The Gladiators,
Derrick Morgan,
Blake Baxter,
Half Japanese,
The Royal Family And The Poor,
Jandek,
The Buckinghams,
Boz Scaggs,
Archie Shepp,
Sparks,
Pantytec,
Boredoms,
China Crisis,
Liliput,
Kool Moe Dee,
Unwound,
Ronan,
Robert Görl,
Tommy Roe,
Gabor Szabo,
DJ Style,
The Star Department,
Matthew Bourne,
Letta Mbulu,
Popol Vuh,
Man Eating Sloth,
Joey Negro,
Nirvana,
Spandau Ballet,
The Slackers,
Depeche Mode,
Eli Mardock,
Lyres,
The Leaves,
Yusef Lateef,
Graham Central Station,
The Electric Prunes,
Thompson Twins,
Bobbi Humphrey,
James Chance & The Contortions,
Public Image Ltd.,
Kaleidoscope,
Rhythm & Sound,
Monks, Monks, Monks, Monks.
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.