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 Uruguay and from London.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Seoul and Paris.
I'm losing my edge to the art-school Manila 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 Art of Noise practice in a loft in London.
I was working on the 808 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 Masters at Work to the techno 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 Kenny Larkin. All the underground hits.
All The Associates tracks. I heard you have a vinyl of every Severed Heads 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 '90s.
I hear you're buying a synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Girls At Our Best! record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Shuggie Otis,
The Modern Lovers,
Stockholm Monsters,
Sällskapet,
Faraquet,
ABBA,
Massinfluence,
Intrusion,
Juan Atkins,
The Alarm Clocks,
London Community Gospel Choir,
Peter and Kerry,
Average White Band,
Major Organ And The Adding Machine,
Los Fastidios,
Desert Stars,
Neu!,
Davy DMX,
The Monks,
Wighnomy Brothers & Robag Wruhme,
Lebanon Hanover,
Fat Boys,
Wings,
Unrelated Segments,
The Evens,
Lalann,
Black Pus,
Can,
Maurizio,
Barclay James Harvest,
Mark Hollis,
Bill Near,
Guru Guru,
Talk Talk,
Pantaleimon,
The Young Rascals,
Ultramagnetic MC's,
Angels of Light & Akron/Family,
The Vogues,
Underground Resistance,
Deutsch Amerikanische Freundschaft,
Make Up,
MDC,
Teenage Jesus and the Jerks,
Flamin' Groovies,
Mars,
New Order,
The Residents,
Ash Ra Tempel,
Joe Smooth,
Fela Kuti,
Glambeats Corp.,
Henry Cow,
Roxy Music,
Jerry's Kids,
The Techniques,
Alphaville,
Altered Images,
Boredoms,
Essential Logic,
Hoover,
Cameo,
Roy Ayers Ubiquity,
Drive Like Jehu,
Gong, Gong, Gong, Gong.
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.