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 Japan and from Copenhagen.
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 1974.
I'm losing my edge.
To all the kids in Copenhagen and Portland.
I'm losing my edge to the art-school Stockholm 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 1976 at the first Wire practice in a loft in Watford.
I was working on the clarinet sounds with much patience.
I was there when Robert Palmer 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 Rites of Spring to the disco kids.
I played it at the Spitz.
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 Nik Kershaw. All the underground hits.
All Stockholm Monsters tracks. I heard you have a vinyl of every Robert Görl record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Hasil Adkins record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Beasts of Bourbon,
Circle Jerks,
Warsaw,
Hot Snakes,
Spandau Ballet,
Glambeats Corp.,
The Slackers,
Flash Fearless,
The Standells,
D'Angelo,
Andrew Hill,
Schoolly D,
Los Fastidios,
Be Bop Deluxe,
Rhythm & Sound,
Marshall Jefferson,
The Slits,
Lee Hazlewood,
Amazonics,
Black Flag,
Barrington Levy,
Colin Newman,
Henry Cow,
Sight & Sound,
Radio Birdman,
The Music Machine,
Echo & the Bunnymen,
Art Ensemble Of Chicago,
Graham Central Station,
Darondo,
Dual Sessions,
Roxette,
Kango’s Stein Massive,
Simply Red,
Marmalade,
LL Cool J,
The Red Krayola,
Piero Umiliani,
Blancmange,
Roy Ayers Ubiquity,
Newcleus,
Alison Limerick,
Bluetip,
Scott Walker,
Quadrant,
A Flock of Seagulls,
X-101,
Howard Jones,
DeepChord presents Echospace,
The Jesus and Mary Chain,
Blake Baxter,
The Mummies,
The Move,
The Birthday Party,
Siglo XX,
Kool Moe Dee,
Oblivians,
The Searchers,
Livin' Joy,
The Count Five,
Alton Ellis,
The Trojans,
Marc Romboy vs. Booka Shade,
Kerri Chandler, Kerri Chandler, Kerri Chandler, Kerri Chandler.
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.