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 Georgia and from Lille.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Johannesburg and Houston.
I'm losing my edge to the art-school Portland 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 clarinet 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 Wally Richardson to the funk kids.
I played it at the Hacienda.
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 Kings Of Tomorrow. All the underground hits.
All Loose Ends tracks. I heard you have a vinyl of every Panda Bear record on German import.
I heard that you have a white label of every seminal techno 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 harpsichord and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Happenings record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Swell Maps,
Albert Ayler,
Hoover,
Glambeats Corp.,
ABBA,
Sexual Harrassment,
Tears for Fears,
Tom Boy,
Radiohead,
CMW,
Fort Wilson Riot,
The Five Americans,
The Fortunes,
Alison Limerick,
Gian Franco Pienzio,
Bluetip,
Camron Feat. Memphis Bleek And Beenie Seigel,
Kevin Saunderson,
DJ Sneak,
Tomorrow,
The Dirtbombs,
Brand Nubian,
Kas Product,
Ultra Naté,
The J.B.'s,
The Trojans,
Pete Rock & C.L. Smooth,
Freddie Wadling,
Man Parrish,
Japan,
Wire,
Kauko Röyhkä ja Narttu,
The West Coast Pop Art Experimental Band,
Sonny Sharrock,
Accadde A,
Roger Hodgson,
Charles Mingus,
Main Source,
the Fania All-Stars,
Maurizio,
The Smoke,
Radiopuhelimet,
10cc,
Mantronix,
Peter & Gordon,
Curtis Mayfield,
Technova,
Kerri Chandler,
a-ha,
Gichy Dan,
Ten City,
The Shadows of Knight,
Minny Pops,
Thompson Twins,
One Last Wish,
Warsaw,
The Names,
Rekid,
Joyce Sims,
Quando Quango,
Joy Division,
Make Up,
Animal Collective, Animal Collective, Animal Collective, Animal Collective.
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.