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 Paraguay and from New York.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1963 to 1972.
I'm losing my edge.
To all the kids in Tokyo and Sao Paulo.
I'm losing my edge to the art-school Hong Kong 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 sitar 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 Lungfish to the grime kids.
I played it at Trash.
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 Ohio Players. All the underground hits.
All Negative Approach tracks. I heard you have a vinyl of every Talk Talk record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an organ and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Heavy D & The Boyz record.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skriet,
Darondo,
The Busters,
Oblivians,
The Chocolate Watch Band,
Throbbing Gristle,
Surgeon,
Sparks,
the Slits,
The Seeds,
Terrestrial Tones,
Sight & Sound,
Index,
Oneida,
The Victims,
Marmalade,
The Jesus and Mary Chain,
Interpol,
Visage,
Gil Scott-Heron and Jamie xx,
Ken Boothe,
Harmonia,
Sunsets and Hearts,
Jeru the Damaja,
Faraquet,
Bauhaus,
Talk Talk,
Barbara Tucker,
Lakeside,
Echo & the Bunnymen,
Iggy Pop,
Marine Girls,
Crime,
Be Bop Deluxe,
Kango’s Stein Massive,
Fifty Foot Hose,
Deutsch Amerikanische Freundschaft,
Barrington Levy,
Schoolly D,
John Holt,
Lee Hazlewood,
The Star Department,
Chris & Cosey,
Ponytail,
James Chance & The Contortions,
Moby Grape,
Cecil Taylor,
This Heat,
Inner City,
Man Eating Sloth,
Roger Hodgson,
Simply Red,
Young Marble Giants,
Anakelly,
June of 44,
China Crisis,
Pharaoh Sanders and the Fire Engines,
Fort Wilson Riot,
Howard Jones,
Essential Logic, Essential Logic, Essential Logic, Essential Logic.
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.