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 Burundi and from New York.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Copenhagen and Cairo.
I'm losing my edge to the art-school London 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 güiro 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 Kango’s Stein Massive to the electroclash 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 Minny Pops. All the underground hits.
All Soulsonic Force tracks. I heard you have a vinyl of every Kaleidoscope record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a güiro and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Sexual Harrassment record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ludus,
The Slits,
Pantaleimon,
Eyeless In Gaza,
Can,
Aaron Thompson,
Fugazi,
The Offenders,
The Shadows of Knight,
The Young Rascals,
the Bar-Kays,
Matthew Bourne,
Kenny Larkin,
Loose Ends,
Lyres,
Erasure,
Mad Mike,
Blake Baxter,
Fat Boys,
Heavy D & The Boyz,
Tommy Roe,
Popol Vuh,
Gil Scott-Heron and Jamie xx,
Black Sheep,
Fear,
Duran Duran,
Tropical Tobacco,
Oblivians,
Fad Gadget,
The Cramps,
Black Bananas,
The Electric Prunes,
Absolute Body Control,
Ultravox,
Connie Case,
Lee Hazlewood,
Funky Four + One,
Aural Exciters,
Terry Callier,
Girls At Our Best!,
Half Japanese,
Bronski Beat,
Matthew Halsall,
Franke,
De La Soul & Jungle Brothers,
Maurizio,
Gichy Dan,
K-Klass,
Negative Approach,
The Techniques,
Essential Logic,
Pagans,
Mars,
Visage,
Subhumans,
Moby Grape,
Minor Threat,
D'Angelo,
Rowland S Howard / Lydia Lunch,
Altered Images,
Theoretical Girls,
kango's stein massive,
Jacob Miller,
Radiopuhelimet, Radiopuhelimet, Radiopuhelimet, Radiopuhelimet.
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.