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 Uzbekistan and from Houston.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Beijing and Houston.
I'm losing my edge to the art-school Tehran 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 Donald Fagen 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 Selector Dub Narcotic to the grime kids.
I played it at the 40 Watt.
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 Masters at Work. All the underground hits.
All Liaisons Dangereuses tracks. I heard you have a vinyl of every Spoonie Gee record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Justin Hinds & The Dominoes record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Skatalites,
Jacob Miller,
Jesper Dahlbäck,
Suicide,
Nation of Ulysses,
Roy Ayers,
Stetsasonic,
Wally Richardson,
The Vogues,
Stockholm Monsters,
The Saints,
Severed Heads,
Ronnie Foster,
Eyeless In Gaza,
Marine Girls,
Pole,
Livin' Joy,
Patti Smith,
Fifty Foot Hose,
Schoolly D,
Sun City Girls,
Bobby Sherman,
Lou Reed & John Cale,
Connie Case,
Charles Mingus,
KRS-One,
Loose Ends,
The Leaves,
Barry Ungar,
Juan Atkins,
Amazonics,
Ronan,
The Cramps,
Scientists,
Infiniti,
John Cale,
In Retrospect,
The Human League,
Rhythm & Sound,
The Evens,
Flamin' Groovies,
Alison Limerick,
Trumans Water,
Lyres,
Make Up,
the Germs,
Gang Green,
Interpol,
UT,
OOIOO,
Radiopuhelimet,
Bronski Beat,
Siouxsie and the Banshees,
Ajijia Myrayebe,
The West Coast Pop Art Experimental Band,
The Associates,
The Alarm Clocks,
Drexciya,
Zero Boys,
Sunsets and Hearts,
Mandrill,
Aural Exciters,
Sandy B, Sandy B, Sandy B, Sandy B.
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.