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 Mexico and from Lyon.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Mumbai and Cairo.
I'm losing my edge to the art-school London 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the rhodes 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 The Monks to the dance kids.
I played it at the Hacienda.
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 Shoche. All the underground hits.
All Au Pairs tracks. I heard you have a vinyl of every John Foxx record on German import.
I heard that you have a white label of every seminal grime 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 a chamberlin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Durutti Column record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Curtis Mayfield,
Public Enemy,
Underground Resistance,
Kauko Röyhkä ja Narttu,
R.M.O.,
Stereo Dub,
the Normal,
Sällskapet,
Rites of Spring,
The Five Americans,
Scratch Acid,
Lonnie Liston Smith,
Brass Construction,
Black Pus,
Marshall Jefferson,
Dennis Brown,
Adolescents,
The Standells,
a-ha,
Ornette Coleman,
Talk Talk,
Connie Case,
Mark Hollis,
Youth Brigade,
Peter & Gordon,
Albert Ayler,
Kerrie Biddell,
Gil Scott Heron,
Morten Harket,
Orchestral Manoeuvres in the Dark,
Barbara Tucker,
The Dirtbombs,
Sly & The Family Stone,
Captain Beefheart & His Magic Band,
Letta Mbulu,
Gabor Szabo,
Sonic Youth,
Gian Franco Pienzio,
Country Joe & The Fish,
Ultramagnetic MC's,
Scientists,
Desert Stars,
Technova,
Marc Almond,
Deutsch Amerikanische Freundschaft,
Robert Görl,
Terrestrial Tones,
Rekid,
Idris Muhammad,
Roxette,
The Neon Judgement,
Guru Guru,
Lee Hazlewood,
Pantytec,
PIL,
London Community Gospel Choir,
The Doobie Brothers,
Gang Green,
F. McDonald,
Unwound,
10cc,
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.