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 Djibouti and from Sao Paulo.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1976.
I'm losing my edge.
To all the kids in Beijing and Seoul.
I'm losing my edge to the art-school Cairo 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 güiro 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 Technova to the funk 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 Ken Boothe. All the underground hits.
All Moss Icon tracks. I heard you have a vinyl of every Davy DMX record on German import.
I heard that you have a white label of every seminal disco 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 linndrum and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Banda Bassotti record.
I hear that you and your band have sold your rhodes and bought a guitar.
I hear that you and your band have sold your guitar and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
In Retrospect,
Q and Not U,
The Litter,
Johnny Osbourne,
Rowland S Howard / Lydia Lunch,
DeepChord presents Echospace,
The Angels of Light,
Erykah Badu,
Kenny Larkin,
Sad Lovers and Giants,
Scientists,
Hot Snakes,
Depeche Mode,
Alison Limerick,
EPMD,
Big Daddy Kane,
Rotary Connection,
Don Cherry,
Kango’s Stein Massive,
Quantec,
Josef K,
Freddie Wadling,
T.S.O.L.,
Monks,
Warren Ellis,
Kas Product,
Japan,
Pussy Galore,
John Foxx,
K-Klass,
Khruangbin,
The Associates,
Minnie Riperton,
The Slackers,
The Fortunes,
Crash Course in Science,
Pulsallama,
Boz Scaggs,
Juan Atkins,
Joy Division,
Bronski Beat,
Boogie Down Productions,
The Sisters of Mercy,
Cabaret Voltaire,
The United States of America,
Trumans Water,
Marshall Jefferson,
Infiniti,
Chris & Cosey,
Tropical Tobacco,
Ituana,
Faust,
Kaleidoscope,
D'Angelo,
Orchestral Manoeuvres in the Dark,
Q65,
Ultravox,
Marc Romboy vs. Booka Shade,
Matthew Halsall,
Arab on Radar,
Pierre Henry, Pierre Henry, Pierre Henry, Pierre Henry.
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.