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 Canada and from Manchester.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Toronto and Paris.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the chamberlin sounds with much patience.
I was there when Donald Fagen 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 Excepter to the jazz kids.
I played it at the Troubador.
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 La Düsseldorf. All the underground hits.
All Joey Negro tracks. I heard you have a vinyl of every Soulsonic Force 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 '70s cut and another box set from the '70s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Heaven 17 record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Super Lover Cee & Casanova Rud,
Suburban Knight,
Donny Hathaway,
Wire,
Steve Hackett,
FM Einheit,
Eric B and Rakim,
Stockholm Monsters,
Deadbeat,
Roy Ayers,
The Wake,
Godley & Creme,
F. McDonald,
Cluster,
Art Ensemble Of Chicago,
Joy Division,
Peter Gordon & Love of Life Orchestra,
The Kinks,
Mark Hollis,
Vladislav Delay,
Sex Pistols,
Dual Sessions,
Kool G Rap & DJ Polo,
Delta 5,
Oppenheimer Analysis,
The Neon Judgement,
Matthew Bourne,
Ultravox,
Lou Reed & Metallica,
Babytalk,
Sonny Sharrock,
Warren Ellis,
Negative Approach,
Wolf Eyes,
Peter and Kerry,
Pierre Henry,
Mo-Dettes,
Public Image Ltd.,
Urselle,
Quadrant,
Avey Tare & Kría Brekkan,
Barry Ungar,
Pet Shop Boys,
Visage,
JFA,
Bush Tetras,
Popol Vuh,
Excepter,
LL Cool J,
Zapp,
Banda Bassotti,
Tom Boy,
John Holt,
The Slackers,
The Skatalites,
Arab on Radar,
Severed Heads,
Fugazi,
Buzzcocks, Buzzcocks, Buzzcocks, Buzzcocks.
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.