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 Shanghai.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Paris and Edmonton.
I'm losing my edge to the art-school Beijing 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 1983 at the first Bronski Beat practice in a loft in Brixton.
I was working on the chamberlin 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 Stiv Bators to the crunk kids.
I played it at Trash.
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 Talk Talk. All the underground hits.
All Tom Boy tracks. I heard you have a vinyl of every The Shadows of Knight record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a X-102 record.
I hear that you and your band have sold your oboe and bought a sitar.
I hear that you and your band have sold your sitar and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
48th St. Collective,
Mars,
Albert Ayler,
Johnny Clarke,
The Smoke,
Bizarre Inc.,
Scion,
Jeff Lynne,
Surgeon,
Peter Gordon & Love of Life Orchestra,
The West Coast Pop Art Experimental Band,
Hasil Adkins,
the Association,
Brick,
The Martian,
Girls At Our Best!,
The Offenders,
Red Lorry Yellow Lorry,
Nation of Ulysses,
The Gun Club,
Interpol,
Zapp,
Joyce Sims,
The Detroit Cobras,
A Certain Ratio,
Anakelly,
Nils Olav,
X-Ray Spex,
Scan 7,
Mantronix,
Grey Daturas,
Bad Manners,
Oppenheimer Analysis,
Donald Byrd,
Bush Tetras,
Aaron Thompson,
Josef K,
Ajijia Myrayebe,
Symarip,
Alton Ellis,
Camron Feat. Memphis Bleek And Beenie Seigel,
Drexciya,
A Flock of Seagulls,
Laurel Aitken,
Subhumans,
The Seeds,
The Stooges,
The Doobie Brothers,
Bootsy's Rubber Band,
James White and The Blacks,
Gil Scott Heron,
The Evens,
Bobby Hutcherson,
The Buckinghams,
Dave Gahan,
Ronnie Foster,
D'Angelo,
the Bar-Kays,
AZ,
Connie Case,
The Selecter,
Basic Channel,
Soft Cell,
the Soft Cell, the Soft Cell, the Soft Cell, the Soft Cell.
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.