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 Grenada and from Tehran.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Milan and Copenhagen.
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 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 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 Al Stewart to the electroclash 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 Notorious Big And Bone Thugs. All the underground hits.
All Bizarre Inc. tracks. I heard you have a vinyl of every Nirvana record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an organ and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Fugazi record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quadrant,
Laurel Aitken,
Ossler,
Lou Reed & John Cale,
Eli Mardock,
Bronski Beat,
Eurythmics,
Tomorrow,
Gerry Rafferty,
Fugazi,
Spoonie Gee,
The Cosmic Jokers,
The West Coast Pop Art Experimental Band,
Avey Tare & Kría Brekkan,
Liliput,
Buzzcocks,
Delon & Dalcan,
Little Man,
Lee Hazlewood,
Jeff Lynne,
Man Eating Sloth,
Sly & The Family Stone,
Grauzone,
The Divine Comedy,
Radiopuhelimet,
Kevin Saunderson,
Altered Images,
Johnny Osbourne,
Inner City,
Lou Christie,
The Techniques,
Pussy Galore,
The Happenings,
The Electric Prunes,
Loose Ends,
The Last Poets,
Monolake,
Sunsets and Hearts,
Alphaville,
Adolescents,
The Fortunes,
Charles Mingus,
The Gun Club,
Gil Scott-Heron & Brian Jackson,
Thompson Twins,
Sonny Sharrock,
Barry Ungar,
Darondo,
Model 500,
Hasil Adkins,
Red Lorry Yellow Lorry,
Average White Band,
Khruangbin,
Rotary Connection,
Visage,
PIL,
the Swans,
The Toasters,
London Community Gospel Choir,
The Real Kids,
Duran Duran, Duran Duran, Duran Duran, Duran Duran.
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.