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 Mauritius and from Woodstock.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Mumbai and London.
I'm losing my edge to the art-school Cairo 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 Captain Beefheart 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 Rod Modell to the techno kids.
I played it at Trash.
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 Steve Hackett. All the underground hits.
All Q65 tracks. I heard you have a vinyl of every Ronnie Foster record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a 808 and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Main Source record.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Zeros,
Juan Atkins,
Gastr Del Sol,
Marine Girls,
Liaisons Dangereuses,
Derrick May,
Essential Logic,
Gang of Four,
Nils Olav,
Boogie Down Productions,
Index,
F. McDonald,
Gil Scott-Heron & Brian Jackson,
Cabaret Voltaire,
Marcia Griffiths,
Michelle Simonal,
John Coltrane,
Thompson Twins,
L. Decosne,
Section 25,
Flash Fearless,
The Cowsills,
Jeru the Damaja,
Judy Mowatt,
Altered Images,
Aloha Tigers,
Fatback Band,
Lee Hazlewood,
Dennis Brown,
Lonnie Liston Smith,
The Move,
Pussy Galore,
Warsaw,
Stiv Bators,
Eurythmics,
The Buckinghams,
Piero Umiliani,
Rowland S Howard / Lydia Lunch,
Sad Lovers and Giants,
Kool G Rap & DJ Polo,
Talk Talk,
Brand Nubian,
Gregory Isaacs,
Ronan,
Duran Duran,
Neil Young,
AZ,
Roxy Music,
June of 44,
Subhumans,
The Wake,
Basic Channel,
ABBA,
Deadbeat,
London Community Gospel Choir,
Terry Callier,
the Association,
Slick Rick,
Popol Vuh,
The Men They Couldn't Hang,
Chris & Cosey,
Josef K,
E-Dancer, E-Dancer, E-Dancer, E-Dancer.
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.