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 Jordan and from Hong Kong.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1964 to 1971.
I'm losing my edge.
To all the kids in Accra and Portland.
I'm losing my edge to the art-school Milan 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 synthesizer sounds with much patience.
I was there when Tom Verlaine 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 Kango’s Stein Massive to the grunge kids.
I played it at the Astoria.
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 Misunderstood. All the underground hits.
All Arthur Verocai tracks. I heard you have a vinyl of every The Vogues record on German import.
I heard that you have a white label of every seminal techno 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 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 Rufus Thomas record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sexual Harrassment,
Pete Rock & C.L. Smooth,
Jacob Miller,
Grandmaster Flash and the Furious Five,
Lower 48,
Banda Bassotti,
Rhythim Is Rhythim,
Henry Cow,
Massinfluence,
Lee Hazlewood,
The Red Krayola,
Au Pairs,
Steve Hackett,
Barbara Tucker,
Hardrive,
In Retrospect,
Eric Copeland,
Archie Shepp,
Bobbi Humphrey,
Moss Icon,
Bluetip,
Simply Red,
The Doobie Brothers,
Frankie Knuckles,
Man Eating Sloth,
Pagans,
Fela Kuti,
Matthew Halsall,
Piero Umiliani,
The Wake,
The Moleskins,
Crispy Ambulance,
The Selecter,
Von Mondo,
Wings,
Bang On A Can,
Underground Resistance,
Essential Logic,
Accadde A,
Boredoms,
Reagan Youth,
Marmalade,
Mark Hollis,
Camberwell Now,
D'Angelo,
One Last Wish,
Crash Course in Science,
Wolf Eyes,
The Monks,
Lalo Schifrin,
Liaisons Dangereuses,
Stereo Dub,
Sun City Girls,
Soft Cell,
MC5,
The Dead C,
UT,
Dorothy Ashby,
L. Decosne,
Young Marble Giants,
Roxy Music,
Johnny Osbourne,
Jeff Lynne,
Susan Cadogan,
Man Parrish, Man Parrish, Man Parrish, Man Parrish.
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.