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 Kiribati and from Taipei.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Milan and Philadelphia.
I'm losing my edge to the art-school Mexico City 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 theremin 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 The Mojo Men to the disco kids.
I played it at Cafe Wha.
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 Barry Ungar. All the underground hits.
All UT tracks. I heard you have a vinyl of every The Litter record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a D'Angelo record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Talk Talk,
Nils Olav,
Public Enemy,
Au Pairs,
Matthew Halsall,
Hashim,
Circle Jerks,
Kas Product,
Matthew Bourne,
Archie Shepp,
cv313,
PIL,
Kings Of Tomorrow,
Intrusion,
Captain Beefheart & His Magic Band,
Be Bop Deluxe,
London Community Gospel Choir,
Guru Guru,
Avey Tare's Slasher Flicks,
Visionaries,LMNO, T- Love & Iriscience,
Saccharine Trust,
Eurythmics,
Alison Limerick,
The Smiths,
Kenny Larkin,
Henry Cow,
Ituana,
Desert Stars,
Justin Hinds & The Dominoes,
F. McDonald,
Girls At Our Best!,
The Grass Roots,
8 Eyed Spy,
The Red Krayola,
Aural Exciters,
Monolake,
Robert Görl,
Crispian St. Peters,
Minutemen,
Wighnomy Brothers & Robag Wruhme,
The Misunderstood,
Jesper Dahlback,
Ajijia Myrayebe,
Gang Starr,
Wire,
Scott Walker + Sunn O))),
Kerri Chandler,
Liliput,
Harmonia,
Magazine,
Funky Four + One,
Dark Day,
Popol Vuh,
Faust,
Alice Coltrane,
John Coltrane,
Ohio Players,
Symarip,
Rhythim Is Rhythim,
Quantec,
Idris Muhammad,
Gerry Rafferty,
Blake Baxter, Blake Baxter, Blake Baxter, Blake Baxter.
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.