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 India and from Stockholm.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Johannesburg and Halifax.
I'm losing my edge to the art-school Hong Kong 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 spring reverb 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 Roxette to the disco 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 Con Funk Shun. All the underground hits.
All Gil Scott-Heron and Jamie xx tracks. I heard you have a vinyl of every Pantaleimon record on German import.
I heard that you have a white label of every seminal funk 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 an organ and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Notorious Big And Bone Thugs record.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bauhaus,
Eric Dolphy,
Barbara Tucker,
Bronski Beat,
Soul Sonic Force,
Notorious BIG live in Amsterdam,
Can,
The Jesus and Mary Chain,
Lou Christie,
Pylon,
Mandrill,
Electric Prunes,
Echospace,
Connie Case,
Alton Ellis,
Ralphi Rosario,
Bobby Sherman,
The Durutti Column,
the Soft Cell,
Underground Resistance,
Aswad,
Pete Rock & C.L. Smooth,
Soul II Soul,
This Heat,
JFA,
Cabaret Voltaire,
Drexciya,
Flamin' Groovies,
Glambeats Corp.,
Fifty Foot Hose,
Buzzcocks,
Gil Scott Heron,
Bootsy's Rubber Band,
Brick,
Alphaville,
ABC,
The Gories,
Kool G Rap & DJ Polo,
Jeru the Damaja,
Idris Muhammad,
The Stooges,
Marc Almond,
Barry Ungar,
The Beau Brummels,
Mo-Dettes,
Dave Gahan,
The Detroit Cobras,
Scientists,
Skarface,
The Kinks,
The Leaves,
Groovy Waters,
Absolute Body Control,
The Moody Blues,
The Gun Club,
Orchestral Manoeuvres in the Dark,
Livin' Joy,
Nico,
K-Klass,
Japan,
Terrestrial Tones,
Blossom Toes, Blossom Toes, Blossom Toes, Blossom Toes.
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.