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 Slovakia and from Manchester.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Columbus and Mexico City.
I'm losing my edge to the art-school Johannesburg 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 1984 at the first Arcadia practice in a loft in London.
I was working on the theremin 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 Mr. Review to the techno 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 Livin' Joy. All the underground hits.
All Johnny Osbourne tracks. I heard you have a vinyl of every Jesper Dahlback record on German import.
I heard that you have a white label of every seminal punk 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 808 and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Sex Pistols record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deutsch Amerikanische Freundschaft,
Television Personalities,
Darondo,
Kenny Larkin,
DJ Sneak,
Rakim,
Pole,
The Mojo Men,
London Community Gospel Choir,
Archie Shepp,
Eurythmics,
Quadrant,
The Motions,
The Doobie Brothers,
R.M.O.,
Larry & the Blue Notes,
48th St. Collective,
The Birthday Party,
Andrew Hill,
Byron Stingily,
Neil Young & Crazy Horse,
Camron Feat. Memphis Bleek And Beenie Seigel,
Ken Boothe,
10cc,
Dennis Brown,
Excepter,
Loose Ends,
Frankie Knuckles,
The Detroit Cobras,
Soul Sonic Force,
Interpol,
Piero Umiliani,
The Wake,
Bobby Byrd,
Arcadia,
Jimmy McGriff,
Rahsaan Roland Kirk,
Wolf Eyes,
Black Pus,
Danielle Patucci,
Subhumans,
Ituana,
The Neon Judgement,
Tubeway Army,
Intrusion,
Blake Baxter,
Pharoah Sanders,
The Last Poets,
Gary Puckett & The Union Gap,
The West Coast Pop Art Experimental Band,
Warren Ellis,
Hashim,
Gil Scott Heron,
Boredoms,
Lalann,
The Cramps,
Supertramp,
Basic Channel,
Radio Birdman,
Make Up,
Tom Boy,
The Fire Engines, The Fire Engines, The Fire Engines, The Fire Engines.
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.