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 South Africa and from Seoul.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1961 to 1978.
I'm losing my edge.
To all the kids in Accra and Lille.
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 snare 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 Hashim to the funk 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 Eric Copeland. All the underground hits.
All Jacques Brel tracks. I heard you have a vinyl of every Brass Construction record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a clarinet and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Marc Romboy vs. Booka Shade record.
I hear that you and your band have sold your chamberlin and bought an organ.
I hear that you and your band have sold your organ and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pole,
The Young Rascals,
Janne Schatter,
DeepChord presents Echospace,
E-Dancer,
Quantec,
Glambeats Corp.,
Curtis Mayfield,
Con Funk Shun,
John Cale,
Susan Cadogan,
The Modern Lovers,
Sugar Minott,
Eli Mardock,
Camberwell Now,
Tomorrow,
Angels of Light & Akron/Family,
New Age Steppers,
Sonny Sharrock,
The Slackers,
Warren Ellis,
Freddie Wadling,
The Mojo Men,
Soul Sonic Force,
Blancmange,
Theoretical Girls,
The Music Machine,
Nik Kershaw,
Guru Guru,
The Human League,
Yazoo,
Rhythim Is Rhythim,
Marc Almond,
Wings,
Fugazi,
The Neon Judgement,
Neil Young & Crazy Horse,
Archie Shepp,
Darondo,
Pharaoh Sanders and the Fire Engines,
The Cosmic Jokers,
Wighnomy Brothers & Robag Wruhme,
Negative Approach,
The Beau Brummels,
The New Christs,
F. McDonald,
Grey Daturas,
Rahsaan Roland Kirk,
Harpers Bizarre,
the Swans,
Q65,
Jeff Mills,
Bobby Hutcherson,
Lou Reed,
Magma,
Oblivians,
Buzzcocks,
Fluxion,
Duran Duran,
Kenny Larkin,
Tubeway Army,
Youth Brigade,
Avey Tare's Slasher Flicks,
Bluetip, Bluetip, Bluetip, Bluetip.
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.