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 Haiti and from Houston.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1973.
I'm losing my edge.
To all the kids in Calgary and Johannesburg.
I'm losing my edge to the art-school New York 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 arpeggiator 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 The Selecter to the disco kids.
I played it at the Troubador.
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 Slick Rick. All the underground hits.
All Matthew Bourne tracks. I heard you have a vinyl of every Siouxsie and the Banshees record on German import.
I heard that you have a white label of every seminal rap 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 marimba and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Black Bananas record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Susan Cadogan,
Sexual Harrassment,
Frankie Knuckles,
Second Layer,
The Mummies,
Y Pants,
Tropical Tobacco,
Dual Sessions,
Marine Girls,
Faust,
Easy Going,
The Names,
Davy DMX,
Alice Coltrane,
Archie Shepp,
Slick Rick,
Sam Rivers,
Blake Baxter,
Glenn Branca,
Skriet,
Leonard Cohen,
The Index,
Mad Mike,
Robert Görl,
the Slits,
London Community Gospel Choir,
Scan 7,
Max Romeo,
Rowland S Howard / Lydia Lunch,
Little Man,
Tommy Roe,
Wolf Eyes,
The Alarm Clocks,
The Monochrome Set,
Fifty Foot Hose,
Tim Buckley,
kango's stein massive,
OOIOO,
Sly & The Family Stone,
Mandrill,
Nation of Ulysses,
Siouxsie and the Banshees,
Ultravox,
Shuggie Otis,
The Motions,
Orchestral Manoeuvres in the Dark,
Nick Fraelich,
Suicide,
Blancmange,
David McCallum,
Alton Ellis,
Pantytec,
The Move,
EPMD,
Television,
Audionom,
The Jesus and Mary Chain,
Monolake,
The Happenings,
Swell Maps,
MDC, MDC, MDC, MDC.
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.