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 Pakistan and from Winnipeg.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1977.
I'm losing my edge.
To all the kids in Woodstock and Copenhagen.
I'm losing my edge to the art-school Manchester 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 snare 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 The Count Five to the jazz 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 Fat Boys. All the underground hits.
All Drexciya tracks. I heard you have a vinyl of every Kauko Röyhkä ja Narttu record on German import.
I heard that you have a white label of every seminal dance 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 harpsichord and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Main Source record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kenny Larkin,
the Human League,
the Swans,
Pete Rock & C.L. Smooth,
Zero Boys,
Sex Pistols,
the Fania All-Stars,
Be Bop Deluxe,
Visionaries,LMNO, T- Love & Iriscience,
Althea and Donna,
Kaleidoscope,
Barry Ungar,
Eurythmics,
Half Japanese,
The Barracudas,
Eric Dolphy,
Spandau Ballet,
Masters at Work,
OOIOO,
Joe Finger,
Crooked Eye,
Electric Light Orchestra,
Lucky Dragons,
Connie Case,
Duran Duran,
Simply Red,
Barclay James Harvest,
Don Cherry,
The Cosmic Jokers,
Dual Sessions,
Yusef Lateef,
Donald Byrd,
Easy Going,
CMW,
The Gladiators,
Radiopuhelimet,
Gregory Isaacs,
Nils Olav,
The Pretty Things,
Gang of Four,
The Black Dice,
Notorious BIG live in Amsterdam,
X-Ray Spex,
Neil Young,
The Five Americans,
Vaughan Mason & Crew,
Lyres,
Bootsy Collins,
The Saints,
Model 500,
Kings Of Tomorrow,
Black Bananas,
Ralphi Rosario,
Parry Music,
Robert Wyatt,
Lee Hazlewood,
Second Layer,
A Certain Ratio,
The Gories,
Basic Channel,
Talk Talk,
Rapeman,
Pagans, Pagans, Pagans, Pagans.
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.