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 Belgium and from Winnipeg.
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 1964 to 1974.
I'm losing my edge.
To all the kids in London and Columbus.
I'm losing my edge to the art-school Milan 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 güiro sounds with much patience.
I was there when Michael McDonald 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 Brass Construction to the grime 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 Max Romeo. All the underground hits.
All London Community Gospel Choir tracks. I heard you have a vinyl of every The Mojo Men 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 '70s.
I hear you're buying a chamberlin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Jerry Gold Smith record.
I hear that you and your band have sold your clarinet and bought an oboe.
I hear that you and your band have sold your oboe and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
In Retrospect,
Judy Mowatt,
Crispian St. Peters,
Sticky Fingaz feat. Raekwon,
Bobby Byrd,
Ossler,
Gary Puckett & The Union Gap,
The Royal Family And The Poor,
The Techniques,
Dual Sessions,
Flamin' Groovies,
Jacques Brel,
Harry Pussy,
Reagan Youth,
Connie Case,
Neu!,
Lyres,
Rowland S Howard / Lydia Lunch,
Throbbing Gristle,
Mantronix,
Quando Quango,
Black Pus,
June Days,
Marc Almond,
Drive Like Jehu,
the Association,
The West Coast Pop Art Experimental Band,
48th St. Collective,
KRS-One,
The Selecter,
Jesper Dahlbäck,
Reuben Wilson,
Unrelated Segments,
Lou Christie,
Richard Hell and the Voidoids,
John Lydon,
Howard Jones,
Joe Finger,
Anakelly,
Urselle,
Jandek,
Electric Prunes,
Altered Images,
Bobbi Humphrey,
Essential Logic,
Saccharine Trust,
Gang of Four,
Sly & The Family Stone,
Das Ding,
Audionom,
Traffic Nightmare,
AZ,
Manfred Mann's Earth Band,
Magma,
The Golliwogs,
Scott Walker,
Skaos,
Bootsy Collins,
Godley & Creme,
Larry & the Blue Notes,
Deepchord,
Basic Channel, Basic Channel, Basic Channel, Basic Channel.
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.