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 Andorra 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 1962 to 1979.
I'm losing my edge.
To all the kids in Bremen and Manila.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the theremin 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 Eric B and Rakim to the crunk kids.
I played it at the Crocodile.
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 Alison Limerick. All the underground hits.
All The Human League tracks. I heard you have a vinyl of every Wighnomy Brothers & Robag Wruhme 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 '50s cut and another box set from the '80s.
I hear you're buying a snare and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a a-ha 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?
Circle Jerks,
The Gun Club,
Underground Resistance,
The Human League,
The Alarm Clocks,
Jimmy McGriff,
Dawn Penn,
the Normal,
Roy Ayers Ubiquity,
Sixth Finger,
Colin Newman,
Siglo XX,
The Raincoats,
Peter and Kerry,
Angels of Light & Akron/Family,
Avey Tare & Kría Brekkan,
Japan,
Eric Copeland,
Ituana,
The Divine Comedy,
Faraquet,
The Fugs,
The Remains,
Inner City,
The Cramps,
The Cure,
Lightning Bolt,
The Misunderstood,
Suburban Knight,
It's A Beautiful Day,
Urselle,
Pantaleimon,
London Community Gospel Choir,
Mantronix,
June of 44,
Orchestral Manoeuvres in the Dark,
Supertramp,
Pulsallama,
Strawberry Alarm Clock,
Lakeside,
Sexual Harrassment,
Harmonia,
the Human League,
Gang Gang Dance,
Pylon,
Saccharine Trust,
Peter Gordon & Love of Life Orchestra,
Bobby Hutcherson,
Ronnie Foster,
Lucky Dragons,
Country Teasers,
Henry Cow,
Kauko Röyhkä ja Narttu,
Reagan Youth,
Soul Sonic Force,
Avey Tare's Slasher Flicks,
The Wake,
Larry & the Blue Notes,
The Doors,
Junior Murvin, Junior Murvin, Junior Murvin, Junior Murvin.
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.