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 Seychelles and from Jakarta.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Portland and Bologna.
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 marimba sounds with much patience.
I was there when David Bowie 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 Siouxsie and the Banshees 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 Jeff Lynne. All the underground hits.
All Blossom Toes tracks. I heard you have a vinyl of every Prince Buster 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 '80s cut and another box set from the '70s.
I hear you're buying a guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Procol Harum record.
I hear that you and your band have sold your sitar and bought a 808.
I hear that you and your band have sold your 808 and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Babytalk,
Fat Boys,
Black Sheep,
Terrestrial Tones,
The Count Five,
It's A Beautiful Day,
PIL,
Faraquet,
The Evens,
Eric Dolphy,
Chris & Cosey,
Man Parrish,
Gary Puckett & The Union Gap,
June of 44,
Gil Scott-Heron & Brian Jackson,
Boogie Down Productions,
The Durutti Column,
Minor Threat,
Gong,
Aaron Thompson,
Gang Starr,
Radio Birdman,
Jeru the Damaja,
The Remains,
The Electric Prunes,
Dead Boys,
the Soft Cell,
Alphaville,
48th St. Collective,
Rites of Spring,
Jerry Gold Smith,
Peter Gordon & Love of Life Orchestra,
Liliput,
Groovy Waters,
Dennis Brown,
Inner City,
Ash Ra Tempel,
Scott Walker + Sunn O))),
Das Ding,
Barry Ungar,
Alton Ellis,
Negative Approach,
Sam Rivers,
The Slits,
Sound Behaviour,
Deepchord,
Japan,
OOIOO,
Sällskapet,
World's Most,
Sun City Girls,
The Angels of Light,
Average White Band,
The Real Kids,
The Modern Lovers,
Parry Music,
Electric Light Orchestra,
Khruangbin,
Soft Machine,
The Young Rascals,
Deadbeat,
Matthew Bourne, Matthew Bourne, Matthew Bourne, Matthew Bourne.
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.