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 Namibia and from Copenhagen.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Bologna and Winnipeg.
I'm losing my edge to the art-school Seoul 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 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 Pierre Henry to the techno 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 ABBA. All the underground hits.
All Johnny Clarke tracks. I heard you have a vinyl of every Roger Hodgson 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 '70s cut and another box set from the '70s.
I hear you're buying a guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Buzzcocks,
Crash Course in Science,
Peter and Kerry,
John Lydon,
Lafayette Afro Rock Band,
Gichy Dan,
Livin' Joy,
Mandrill,
Can,
Ludus,
The Names,
The Electric Prunes,
Eric Copeland,
UT,
Blossom Toes,
Unrelated Segments,
Pierre Henry,
The Red Krayola,
Severed Heads,
Q65,
Nick Cave & The Bad Seeds,
Gil Scott-Heron and Jamie xx,
The United States of America,
Notorious Big And Bone Thugs,
Freddie Wadling,
The Sonics,
Avey Tare's Slasher Flicks,
Toni Rubio,
Funkadelic,
Reagan Youth,
Quantec,
Kevin Saunderson,
Orchestral Manoeuvres in the Dark,
Tommy Roe,
The Remains,
Ponytail,
Surgeon,
Hoover,
World's Most,
James Chance & The Contortions,
Kaleidoscope,
Public Image Ltd.,
Mary Jane Girls,
Nils Olav,
The Raincoats,
KRS-One,
Pagans,
Tubeway Army,
Cameo,
Sound Behaviour,
Rhythm & Sound,
The Zeros,
Absolute Body Control,
Scrapy,
Henry Cow,
The Techniques,
Oppenheimer Analysis,
The Leaves,
Technova,
Siouxsie and the Banshees,
Fifty Foot Hose,
Model 500, Model 500, Model 500, Model 500.
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.