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 Comoros and from Houston.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1974.
I'm losing my edge.
To all the kids in Mumbai and Taipei.
I'm losing my edge to the art-school New York 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 organ sounds with much patience.
I was there when David Bowie 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 Fela Kuti to the disco kids.
I played it at the Hacienda.
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 The Standells. All the underground hits.
All Crime tracks. I heard you have a vinyl of every Lizzy Mercier Descloux 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 '60s cut and another box set from the '70s.
I hear you're buying a 808 and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Dorothy Ashby record.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chris & Cosey,
Khruangbin,
Grandmaster Flash and the Furious Five,
Spoonie Gee,
Rod Modell,
China Crisis,
Bang On A Can,
Circle Jerks,
Tim Buckley,
The Beau Brummels,
Teenage Jesus and the Jerks,
Maurizio,
The Detroit Cobras,
Roy Ayers,
Blancmange,
Liliput,
Zero Boys,
Dark Day,
Oppenheimer Analysis,
Cal Tjader,
Scion,
Second Layer,
Wally Richardson,
Red Lorry Yellow Lorry,
Siglo XX,
Main Source,
Severed Heads,
Rufus Thomas,
Procol Harum,
Sam Rivers,
48th St. Collective,
LL Cool J,
L. Decosne,
Bizarre Inc.,
Average White Band,
New York Dolls,
The Flesh Eaters,
The Buckinghams,
Bootsy Collins,
Jeff Mills,
Slick Rick,
Rhythim Is Rhythim,
JFA,
Boredoms,
PIL,
Warsaw,
EPMD,
The Happenings,
Easy Going,
The Grass Roots,
Kerrie Biddell,
Pantytec,
Glenn Branca,
Hasil Adkins,
Dennis Brown,
Byron Stingily,
The New Christs,
Soul Sonic Force,
Kool G Rap & DJ Polo,
The Slackers,
CMW,
Morten Harket, Morten Harket, Morten Harket, Morten Harket.
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.