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 Venezuela 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 1964 to 1977.
I'm losing my edge.
To all the kids in Beijing and Shanghai.
I'm losing my edge to the art-school Salvador 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the linndrum 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 Selecter to the grime 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 Arthur Verocai. All the underground hits.
All The Real Kids tracks. I heard you have a vinyl of every X-Ray Spex 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 '80s cut and another box set from the '90s.
I hear you're buying a linndrum and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Amazonics record.
I hear that you and your band have sold your organ and bought a marimba.
I hear that you and your band have sold your marimba and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tommy Roe,
Laurel Aitken,
Danielle Patucci,
Henry Cow,
Shoche,
Kango’s Stein Massive,
Fear,
Max Romeo,
Fifty Foot Hose,
Brothers Johnson,
Selector Dub Narcotic,
Harpers Bizarre,
Soft Cell,
Intrusion,
Crime,
Altered Images,
Pagans,
Minnie Riperton,
Boogie Down Productions,
Avey Tare,
The Dead C,
the Swans,
The Motions,
Black Pus,
Nick Cave & The Bad Seeds,
Chris Corsano,
Niagra,
Oblivians,
The Jesus and Mary Chain,
Section 25,
Major Organ And The Adding Machine,
The Last Poets,
Rahsaan Roland Kirk,
The Five Americans,
Theoretical Girls,
Liliput,
Al Stewart,
Deutsch Amerikanische Freundschaft,
Pet Shop Boys,
New York Dolls,
Zapp,
Metal Thangz,
Stereo Dub,
Röyhkä ja Rättö ja Lehtisalo,
Roxy Music,
Wire,
Maleditus Sound,
Gregory Isaacs,
B.T. Express,
Main Source,
Teenage Jesus and the Jerks,
Crooked Eye,
kango's stein massive,
Pylon,
Sixth Finger,
Blake Baxter,
The Moody Blues,
Smog,
Model 500,
The Men They Couldn't Hang,
Suicide,
EPMD,
Aural Exciters,
A Flock of Seagulls,
Barclay James Harvest, Barclay James Harvest, Barclay James Harvest, Barclay James Harvest.
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.