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 China and from Milan.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1975.
I'm losing my edge.
To all the kids in Johannesburg and Cairo.
I'm losing my edge to the art-school New York 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 synthesizer 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 Marmalade to the crunk kids.
I played it at the Hacienda.
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 Nas. All the underground hits.
All John Foxx tracks. I heard you have a vinyl of every Maleditus Sound 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 '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Section 25 record.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
ABC,
Scratch Acid,
Soft Machine,
Oppenheimer Analysis,
Amazonics,
the Slits,
Gastr Del Sol,
Rites of Spring,
Bobby Hutcherson,
Curtis Mayfield,
Gichy Dan,
Yellowson,
Jesper Dahlbäck,
Hot Snakes,
The Index,
Electric Light Orchestra,
Hashim,
Das Ding,
Marcia Griffiths,
Gong,
OOIOO,
Mr. Review,
Lalann,
Orchestral Manoeuvres in the Dark,
The Searchers,
Rakim,
Mark Hollis,
The Misunderstood,
Wally Richardson,
kango's stein massive,
Swell Maps,
Vaughan Mason & Crew,
Steve Hackett,
U.S. Maple,
DJ Style,
Man Parrish,
H. Thieme,
The Remains,
The Human League,
Yusef Lateef,
Pussy Galore,
Country Teasers,
Section 25,
Bob Dylan,
Charles Mingus,
Rod Modell,
Strawberry Alarm Clock,
Kaleidoscope,
Q65,
Ice-T,
Interpol,
Ponytail,
Zapp,
The Sisters of Mercy,
Mo-Dettes,
Alison Limerick,
Rowland S Howard / Lydia Lunch,
10cc,
Godley & Creme,
Fear,
The Move,
It's A Beautiful Day,
Kool Moe Dee, Kool Moe Dee, Kool Moe Dee, Kool Moe Dee.
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.