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 Mongolia and from Tehran.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Lyon and New York.
I'm losing my edge to the art-school Lille 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 spring reverb 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 Newcleus to the dance kids.
I played it at the Astoria.
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 Buzzcocks. All the underground hits.
All Sound Behaviour tracks. I heard you have a vinyl of every Flash Fearless record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Sly & The Family Stone record.
I hear that you and your band have sold your clarinet and bought a güiro.
I hear that you and your band have sold your güiro and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Au Pairs,
Ituana,
Susan Cadogan,
Peter and Kerry,
Duran Duran,
AZ,
Sound Behaviour,
Kauko Röyhkä ja Narttu,
The Doors,
Minutemen,
China Crisis,
Spoonie Gee,
Boz Scaggs,
Black Moon,
Arab on Radar,
48th St. Collective,
Brass Construction,
Chrome,
Funkadelic,
Johnny Clarke,
Fluxion,
Marshall Jefferson,
Piero Umiliani,
Ten City,
Liaisons Dangereuses,
Aaron Thompson,
Jeff Mills,
The Searchers,
Maleditus Sound,
OOIOO,
Bobby Sherman,
Lakeside,
Man Eating Sloth,
Newcleus,
Crispy Ambulance,
The Litter,
Country Teasers,
Steve Hackett,
Hoover,
The Associates,
Cymande,
DNA,
The Fuzztones,
Parry Music,
Alison Limerick,
Outsiders,
Schoolly D,
Buzzcocks,
Public Image Ltd.,
Pantaleimon,
Don Cherry,
David Axelrod,
Terrestrial Tones,
Crime,
Pharaoh Sanders and the Fire Engines,
Johnny Osbourne,
Delta 5,
Aural Exciters,
Thee Headcoats,
Gong,
Rowland S Howard / Lydia Lunch,
The Shadows of Knight, The Shadows of Knight, The Shadows of Knight, The Shadows of Knight.
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.