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 Bhutan and from Woodstock.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1970.
I'm losing my edge.
To all the kids in Shanghai and Toronto.
I'm losing my edge to the art-school Lyon 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 linndrum sounds with much patience.
I was there when David Bowie 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 Soft Cell to the dance 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 Bill Wells. All the underground hits.
All Television Personalities tracks. I heard you have a vinyl of every Jimmy McGriff 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 '60s cut and another box set from the '80s.
I hear you're buying a güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Wake record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Slits,
Sun Ra Arkestra,
Sly & The Family Stone,
Q and Not U,
Eyeless In Gaza,
the Slits,
Bob Dylan,
Camberwell Now,
Bad Manners,
John Coltrane,
Motorama,
Crime,
Black Moon,
10cc,
Deutsch Amerikanische Freundschaft,
Brand Nubian,
Niagra,
Scott Walker + Sunn O))),
Deepchord,
Eve St. Jones,
The Evens,
Amazonics,
Flipper,
Lee Hazlewood,
Kevin Saunderson,
Gong,
Erasure,
Joey Negro,
Chris Corsano,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Zeros,
Saccharine Trust,
Minutemen,
Suburban Knight,
Bill Wells,
Bizarre Inc.,
Groovy Waters,
Crispian St. Peters,
Soul Sonic Force,
Depeche Mode,
One Last Wish,
X-101,
Sight & Sound,
Morten Harket,
Heavy D & The Boyz,
The Trojans,
Michelle Simonal,
Spandau Ballet,
Brothers Johnson,
Roxette,
The Sound,
The Cowsills,
The Velvet Underground,
Qualms,
T. Rex,
Todd Rundgren,
Marc Almond,
Rites of Spring,
Bush Tetras,
Index,
Quantec,
kango's stein massive,
Intrusion, Intrusion, Intrusion, Intrusion.
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.