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 Sweden and from Delhi.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Seoul and Johannesburg.
I'm losing my edge to the art-school Accra 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 spring reverb sounds with much patience.
I was there when Donald Fagen 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 Derrick Morgan to the techno kids.
I played it at the Spitz.
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 Maurizio. All the underground hits.
All Graham Central Station tracks. I heard you have a vinyl of every Franke record on German import.
I heard that you have a white label of every seminal punk 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 mellotron and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Sugar Minott record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Hill,
Pantaleimon,
Sun Ra,
Notorious Big And Bone Thugs,
Sun Ra Arkestra,
Kango’s Stein Massive,
Depeche Mode,
Ice-T,
Todd Terry,
Be Bop Deluxe,
Manfred Mann's Earth Band,
Aswad,
Symarip,
Radiopuhelimet,
Agent Orange,
Dual Sessions,
Procol Harum,
Lou Christie,
The Sound,
Public Enemy,
Deutsch Amerikanische Freundschaft,
Ken Boothe,
MC5,
Gang of Four,
Bad Manners,
Monks,
Young Marble Giants,
Trumans Water,
The Count Five,
Bronski Beat,
Lou Reed & John Cale,
Josef K,
Sexual Harrassment,
Skarface,
Chrome,
Nick Cave & The Bad Seeds,
the Sonics,
Slave,
Eyeless In Gaza,
Mad Mike,
Bush Tetras,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Gil Scott-Heron and Jamie xx,
June of 44,
Eric B and Rakim,
Minor Threat,
Andrew Ashong & Theo Parrish,
The Barracudas,
Joyce Sims,
Cecil Taylor,
Unrelated Segments,
Fad Gadget,
Tropical Tobacco,
The Motions,
Livin' Joy,
Boredoms,
Traffic Nightmare,
Visage,
the Soft Cell,
Marc Romboy vs. Booka Shade, Marc Romboy vs. Booka Shade, Marc Romboy vs. Booka Shade, Marc Romboy vs. Booka Shade.
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.