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 Monaco and from Bremen.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1962 to 1975.
I'm losing my edge.
To all the kids in Bologna and Shanghai.
I'm losing my edge to the art-school Bologna 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 marimba sounds with much patience.
I was there when Robert Palmer 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 Ornette Coleman to the rap 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 Roy Ayers Ubiquity. All the underground hits.
All Zapp tracks. I heard you have a vinyl of every Joe Finger record on German import.
I heard that you have a white label of every seminal funk 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 synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your theremin and bought an organ.
I hear that you and your band have sold your organ and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Juan Atkins,
Organ,
Model 500,
Man Eating Sloth,
David Axelrod,
New York Dolls,
The Saints,
The Index,
Bobby Hutcherson,
Sonny Sharrock,
Derrick May,
Ultramagnetic MC's,
Talk Talk,
Röyhkä ja Rättö ja Lehtisalo,
T.S.O.L.,
Kurtis Blow,
Public Image Ltd.,
Nick Fraelich,
the Association,
Barry Ungar,
Donald Byrd,
Traffic Nightmare,
Young Marble Giants,
Harmonia,
Maleditus Sound,
the Soft Cell,
The Doobie Brothers,
EPMD,
The Raincoats,
London Community Gospel Choir,
Sly & The Family Stone,
Josef K,
Black Sheep,
Kauko Röyhkä ja Narttu,
Rites of Spring,
Pole,
China Crisis,
X-102,
The United States of America,
Terrestrial Tones,
Soft Cell,
The Velvet Underground,
The Birthday Party,
John Coltrane,
The Misunderstood,
KRS-One,
Yazoo,
Davy DMX,
Ten City,
Wighnomy Brothers & Robag Wruhme,
Girls At Our Best!,
Gil Scott Heron,
The Dave Clark Five,
Lou Christie,
Glambeats Corp.,
Deepchord,
Jimmy McGriff,
Tropical Tobacco,
Panda Bear,
Los Fastidios,
The Angels of Light,
Mantronix, Mantronix, Mantronix, Mantronix.
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.