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 Germany and from Delhi.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Bologna and Tehran.
I'm losing my edge to the art-school Philadelphia 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 chamberlin 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 the Soft Cell to the disco kids.
I played it at the Roxy.
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 The Dirtbombs. All the underground hits.
All Isaac Hayes tracks. I heard you have a vinyl of every Camron Feat. Memphis Bleek And Beenie Seigel record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Robert Hood record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Talk Talk,
Aswad,
Big Daddy Kane,
Minny Pops,
Bauhaus,
Robert Görl,
Adolescents,
Thee Headcoats,
Barbara Tucker,
Jimmy McGriff,
Angry Samoans,
Alphaville,
Gang Gang Dance,
Nik Kershaw,
Juan Atkins,
Index,
The Modern Lovers,
Hashim,
Sugar Minott,
Nation of Ulysses,
Little Man,
Maurizio,
Wings,
Wighnomy Brothers & Robag Wruhme,
Marvin Gaye,
Chrome,
Gil Scott Heron,
Smog,
B.T. Express,
Cal Tjader,
Jerry's Kids,
Marcia Griffiths,
K-Klass,
Mr. Review,
Sun City Girls,
The Velvet Underground,
Country Teasers,
The Associates,
Judy Mowatt,
The Techniques,
Khruangbin,
Siouxsie and the Banshees,
Major Organ And The Adding Machine,
Janne Schatter,
UT,
Electric Light Orchestra,
Amon Düül,
Harpers Bizarre,
Laurel Aitken,
Oneida,
Sight & Sound,
Zapp,
The Shadows of Knight,
Tommy Roe,
Kings Of Tomorrow,
Blake Baxter,
Bad Manners,
Mad Mike,
Quantec,
Vaughan Mason & Crew,
Derrick May,
DNA, DNA, DNA, DNA.
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.