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 Canada 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 1966 to 1976.
I'm losing my edge.
To all the kids in Calgary and Toronto.
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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the synthesizer 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 Strawberry Alarm Clock to the disco kids.
I played it at the Crocodile.
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 Masters at Work. All the underground hits.
All Mary Jane Girls tracks. I heard you have a vinyl of every The Gories record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a snare and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Carl Craig record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mad Mike,
The Five Americans,
JFA,
John Coltrane,
Kaleidoscope,
Thinking Fellers Union Local 282,
Isaac Hayes,
Dark Day,
Eurythmics,
The Zeros,
Mo-Dettes,
Nick Fraelich,
Barrington Levy,
The Cosmic Jokers,
Maleditus Sound,
Crispy Ambulance,
Minor Threat,
Erasure,
Tubeway Army,
Rites of Spring,
The Golliwogs,
Roxy Music,
Skaos,
the Association,
Organ,
Talk Talk,
Man Eating Sloth,
Crooked Eye,
Procol Harum,
Crispian St. Peters,
Dual Sessions,
Wolf Eyes,
Tom Boy,
Lizzy Mercier Descloux,
The Stooges,
Young Marble Giants,
Gang Green,
The Smoke,
The Names,
Albert Ayler,
Bang On A Can,
Camberwell Now,
Danielle Patucci,
Sight & Sound,
Dave Gahan,
Scratch Acid,
Gil Scott-Heron and Jamie xx,
Bad Manners,
Larry & the Blue Notes,
De La Soul & Jungle Brothers,
X-101,
Sun City Girls,
The Buckinghams,
Depeche Mode,
Theoretical Girls,
Hot Snakes,
The Motions,
Joey Negro,
Joe Smooth, Joe Smooth, Joe Smooth, Joe Smooth.
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.