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 South Africa and from Paris.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Stockholm and Manchester.
I'm losing my edge to the art-school Philadelphia 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 chamberlin 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 Dorothy Ashby 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 Bad Manners. All the underground hits.
All Lakeside tracks. I heard you have a vinyl of every Symarip record on German import.
I heard that you have a white label of every seminal jazz 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 harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The J.B.'s record.
I hear that you and your band have sold your snare and bought a guitar.
I hear that you and your band have sold your guitar and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Carl Craig,
Lower 48,
Tommy Roe,
The Slits,
La Düsseldorf,
Man Eating Sloth,
Oneida,
Television Personalities,
The Smoke,
Archie Shepp,
Bauhaus,
Ituana,
Ten City,
Eric Dolphy,
Wire,
Sticky Fingaz feat. Raekwon,
Art Ensemble Of Chicago,
The Associates,
Harpers Bizarre,
Albert Ayler,
Accadde A,
Bobby Hutcherson,
A Certain Ratio,
the Fania All-Stars,
Matthew Bourne,
Eyeless In Gaza,
Swell Maps,
Eden Ahbez,
K-Klass,
The Gap Band,
kango's stein massive,
ABBA,
China Crisis,
The Gun Club,
Dennis Brown,
Terrestrial Tones,
The Residents,
Rufus Thomas,
Wighnomy Brothers & Robag Wruhme,
Bill Wells,
Sad Lovers and Giants,
T.S.O.L.,
Barclay James Harvest,
the Soft Cell,
Susan Cadogan,
Loose Ends,
Marvin Gaye,
Pere Ubu,
Rotary Connection,
Sugar Minott,
Babytalk,
Amon Düül II,
Organ,
The Slackers,
Suburban Knight,
Gong,
Ice-T,
Pharaoh Sanders and the Fire Engines,
Deakin,
Spoonie Gee,
The Human League,
Jacob Miller, Jacob Miller, Jacob Miller, Jacob Miller.
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.