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 Syria and from Bremen.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Johannesburg and Johannesburg.
I'm losing my edge to the art-school Lagos 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the chamberlin sounds with much patience.
I was there when Lou Reed 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 Ralphi Rosario to the disco kids.
I played it at the Troubador.
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 Soul Sonic Force. All the underground hits.
All Electric Prunes tracks. I heard you have a vinyl of every The Alarm Clocks 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 '70s cut and another box set from the '70s.
I hear you're buying a clarinet and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash and the Furious Five record.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
48th St. Collective,
The Peanut Butter Conspiracy,
Liliput,
Curtis Mayfield,
Althea and Donna,
Pulsallama,
Ronnie Foster,
New York Dolls,
Jawbox,
Angels of Light & Akron/Family,
Masters at Work,
Darondo,
The Kinks,
Lucky Dragons,
Neu!,
Letta Mbulu,
Glenn Branca,
Ultravox,
Absolute Body Control,
The Fugs,
Amon Düül II,
Excepter,
Kerrie Biddell,
Eurythmics,
Country Teasers,
Josef K,
Silicon Teens,
Gang Green,
Ash Ra Tempel,
John Foxx,
The Smiths,
Index,
Q and Not U,
Sonny Sharrock,
Crime,
Chris & Cosey,
Nico,
Sixth Finger,
Michelle Simonal,
The American Breed,
The Walker Brothers,
Supertramp,
Hashim,
Anakelly,
Tears for Fears,
H. Thieme,
Sad Lovers and Giants,
Girls At Our Best!,
Jesper Dahlback,
Lakeside,
Barry Ungar,
Röyhkä ja Rättö ja Lehtisalo,
FM Einheit,
Red Lorry Yellow Lorry,
Electric Light Orchestra,
Bobby Byrd,
Dr. Dre and Snoop Doggy Dog,
Brick,
The Detroit Cobras,
Radio Birdman,
These Immortal Souls,
The Motions,
The Fire Engines, The Fire Engines, The Fire Engines, The Fire Engines.
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.