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 Antigua and from Seoul.
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 1975.
I'm losing my edge.
To all the kids in Houston and Delhi.
I'm losing my edge to the art-school Sao Paulo 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 Buzzcocks practice in a loft in Bolton.
I was working on the chamberlin 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 Nils Olav to the electroclash kids.
I played it at the Astoria.
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 Sun Ra. All the underground hits.
All Bob Dylan tracks. I heard you have a vinyl of every Darondo record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Aswad record.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Drive Like Jehu,
The Raincoats,
Pet Shop Boys,
Sexual Harrassment,
Soulsonic Force,
Joensuu 1685,
Beasts of Bourbon,
The Litter,
Nils Olav,
Aural Exciters,
Eric Copeland,
Rahsaan Roland Kirk,
The Pop Group,
Barry Ungar,
Gil Scott-Heron and Jamie xx,
Fear,
Richard Hell and the Voidoids,
X-102,
Funky Four + One,
Kool G Rap & DJ Polo,
Sällskapet,
Lizzy Mercier Descloux,
Warsaw,
Mantronix,
Smog,
The Angels of Light,
Neil Young,
Public Enemy,
Derrick May,
The Tremeloes,
Teenage Jesus and the Jerks,
Bootsy Collins,
Art Ensemble Of Chicago,
Los Fastidios,
Hashim,
The Sound,
Simply Red,
Godley & Creme,
The Jesus and Mary Chain,
London Community Gospel Choir,
The Five Americans,
Malaria!,
Soft Machine,
Lee Hazlewood,
Toni Rubio,
Eric B and Rakim,
Gang of Four,
Fad Gadget,
Quantec,
Orchestral Manoeuvres in the Dark,
Liaisons Dangereuses,
Wighnomy Brothers & Robag Wruhme,
Andrew Hill,
The Fortunes,
Kings Of Tomorrow,
Crispian St. Peters,
Vaughan Mason & Crew,
The Blues Magoos,
Jesper Dahlback,
The Blackbyrds, The Blackbyrds, The Blackbyrds, The Blackbyrds.
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.