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 France and from Jakarta.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Sao Paulo and Portland.
I'm losing my edge to the art-school Manchester 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 rhodes sounds with much patience.
I was there when Lou Reed 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 Johnny Clarke to the punk 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 KRS-One. All the underground hits.
All Soft Machine tracks. I heard you have a vinyl of every Minnie Riperton record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a sitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Sandy B record.
I hear that you and your band have sold your marimba and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hardrive,
The Tremeloes,
Vaughan Mason & Crew,
Masters at Work,
Rapeman,
The Litter,
The J.B.'s,
The Barracudas,
Slick Rick,
Big Daddy Kane,
Supertramp,
D'Angelo,
Cymande,
The Fuzztones,
Kango’s Stein Massive,
Gabor Szabo,
Lebanon Hanover,
Delon & Dalcan,
L. Decosne,
Joe Finger,
Crash Course in Science,
Pantytec,
Amazonics,
Soft Cell,
Marine Girls,
Kool Moe Dee,
Qualms,
Fort Wilson Riot,
Schoolly D,
David Axelrod,
Scan 7,
Scion,
Icehouse,
Thompson Twins,
The Doors,
Black Sheep,
The Cosmic Jokers,
Albert Ayler,
MDC,
Guru Guru,
Franke,
The Associates,
Sun Ra,
The Smoke,
Bobby Byrd,
The Detroit Cobras,
Josef K,
Wally Richardson,
Idris Muhammad,
Jeff Lynne,
Mandrill,
Connie Case,
Aaron Thompson,
Deutsch Amerikanische Freundschaft,
Quadrant,
Ludus,
Suburban Knight,
Minor Threat,
Donny Hathaway,
Flash Fearless,
Tommy Roe,
Wighnomy Brothers & Robag Wruhme,
Nils Olav, Nils Olav, Nils Olav, Nils Olav.
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.