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 Ethiopia and from Edmonton.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1970.
I'm losing my edge.
To all the kids in Glasgow and Beijing.
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 chamberlin sounds with much patience.
I was there when Lou Reed 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 Althea and Donna to the funk 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 The Trojans. All the underground hits.
All Eric Dolphy tracks. I heard you have a vinyl of every Howard Jones 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 '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Birthday Party record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mo-Dettes,
Ash Ra Tempel,
Scrapy,
Wolf Eyes,
L. Decosne,
John Lydon,
Popol Vuh,
The Toasters,
Soul II Soul,
K-Klass,
Orchestral Manoeuvres in the Dark,
Hashim,
Angels of Light & Akron/Family,
Fifty Foot Hose,
The Seeds,
Johnny Clarke,
Be Bop Deluxe,
The Mighty Diamonds,
Brass Construction,
Eddi Front,
Kerrie Biddell,
Vainqueur,
Isaac Hayes,
Radiopuhelimet,
Porter Ricks,
Pantaleimon,
Marc Almond,
Quadrant,
Television,
Deepchord,
Wings,
The Motions,
Mandrill,
Pussy Galore,
Cheater Slicks,
Ronan,
Masters at Work,
Lonnie Liston Smith,
cv313,
The Selecter,
Jacob Miller,
Alphaville,
Amon Düül,
Ten City,
Organ,
Susan Cadogan,
Ice-T,
FM Einheit,
Byron Stingily,
X-101,
Lou Reed,
The Neon Judgement,
ABC,
Boogie Down Productions,
The Golliwogs,
Chris Corsano,
Newcleus,
Flipper,
Country Joe & The Fish,
Avey Tare's Slasher Flicks,
The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band.
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.