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 Egypt and from Lagos.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1961 to 1976.
I'm losing my edge.
To all the kids in Seoul and Bologna.
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 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 Nile Rodgers 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 Roxette to the techno 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 the Normal. All the underground hits.
All Marshall Jefferson tracks. I heard you have a vinyl of every The Peanut Butter Conspiracy record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a rhodes and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Piero Umiliani record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bush Tetras,
Half Japanese,
Cluster,
June of 44,
Bizarre Inc.,
Bobby Hutcherson,
Eyeless In Gaza,
The Dirtbombs,
Stiv Bators,
Icehouse,
Johnny Clarke,
Quantec,
Gichy Dan,
Robert Hood,
Fela Kuti,
Can,
The Last Poets,
cv313,
The Five Americans,
Rhythm & Sound,
Howard Jones,
Lyres,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Barrington Levy,
Von Mondo,
Siouxsie and the Banshees,
Darondo,
Cheater Slicks,
Lakeside,
Tim Buckley,
The Gories,
Gang Gang Dance,
Aural Exciters,
Lou Christie,
Mr. Review,
Second Layer,
Dual Sessions,
The Busters,
John Lydon,
Ohio Players,
Lee Hazlewood,
Robert Görl,
Pharaoh Sanders and the Fire Engines,
Junior Murvin,
a-ha,
Trumans Water,
Isaac Hayes,
Warren Ellis,
Buzzcocks,
Faust,
The Mummies,
Chris Corsano,
The Leaves,
Nas,
John Cale,
LL Cool J,
Don Cherry,
Khruangbin,
Loose Ends,
The Shadows of Knight,
Kayak,
Marshall Jefferson,
Freddie Wadling,
Maleditus Sound, Maleditus Sound, Maleditus Sound, Maleditus Sound.
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.