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 Bahrain and from Lagos.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1979.
I'm losing my edge.
To all the kids in Woodstock and Beijing.
I'm losing my edge to the art-school Seoul 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 theremin sounds with much patience.
I was there when Donald Fagen 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 Boredoms to the jazz kids.
I played it at the 40 Watt.
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 Cluster. All the underground hits.
All The New Christs tracks. I heard you have a vinyl of every The Human League 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 snare and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a This Heat record.
I hear that you and your band have sold your 808 and bought a güiro.
I hear that you and your band have sold your güiro and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jerry's Kids,
R.M.O.,
Echospace,
London Community Gospel Choir,
Isaac Hayes,
48th St. Collective,
Sight & Sound,
The Leaves,
The Shadows of Knight,
Urselle,
Gary Puckett & The Union Gap,
Art Ensemble Of Chicago,
Cameo,
Infiniti,
AZ,
Public Image Ltd.,
Idris Muhammad,
Amazonics,
Rod Modell,
Half Japanese,
Eric Copeland,
Moby Grape,
Howard Jones,
Charles Mingus,
U.S. Maple,
Justin Hinds & The Dominoes,
Can,
The Wake,
Camberwell Now,
Dennis Brown,
Essential Logic,
Tears for Fears,
Magazine,
The Pop Group,
Icehouse,
K-Klass,
Gang Gang Dance,
John Cale,
The Names,
Organ,
Jacob Miller,
Bizarre Inc.,
Swell Maps,
Underground Resistance,
Bronski Beat,
Minnie Riperton,
Avey Tare & Kría Brekkan,
Excepter,
Lizzy Mercier Descloux,
Mantronix,
Quando Quango,
Brothers Johnson,
Lyres,
Visage,
Stockholm Monsters,
Leonard Cohen,
Harpers Bizarre,
Kango’s Stein Massive,
John Coltrane,
The Star Department,
The Red Krayola,
Aural Exciters, Aural Exciters, Aural Exciters, Aural Exciters.
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.