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 Tonga and from Bremen.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1971.
I'm losing my edge.
To all the kids in Beijing and Calgary.
I'm losing my edge to the art-school Copenhagen 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 Michael McDonald 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 Eddi Front to the disco kids.
I played it at Trash.
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 Lafayette Afro Rock Band. All the underground hits.
All Derrick May tracks. I heard you have a vinyl of every Moss Icon 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 '90s.
I hear you're buying a mellotron and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Alphaville record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Ashong & Theo Parrish,
Marvin Gaye,
The Monks,
Faust,
Derrick Morgan,
Rod Modell,
the Sonics,
Marc Romboy vs. Booka Shade,
Audionom,
Theoretical Girls,
Wally Richardson,
Oppenheimer Analysis,
The Fall,
Pylon,
Brass Construction,
Parry Music,
Red Lorry Yellow Lorry,
The Residents,
Aaron Thompson,
Index,
Curtis Mayfield,
Essential Logic,
Richard Hell and the Voidoids,
The Wake,
The Monochrome Set,
Interpol,
Camberwell Now,
Chrome,
H. Thieme,
Peter & Gordon,
Faraquet,
Kevin Saunderson,
Popol Vuh,
Crispian St. Peters,
The Techniques,
Suburban Knight,
Althea and Donna,
The Durutti Column,
Electric Prunes,
Peter Gordon & Love of Life Orchestra,
Lizzy Mercier Descloux,
a-ha,
Stiv Bators,
Agent Orange,
Procol Harum,
Sparks,
Lonnie Liston Smith,
Piero Umiliani,
James Chance & The Contortions,
Maurizio,
New York Dolls,
Man Parrish,
The Pretty Things,
Make Up,
Joe Smooth,
Minnie Riperton,
Teenage Jesus and the Jerks,
Pierre Henry,
The Dave Clark Five,
Marine Girls,
Technova,
Hot Snakes,
Altered Images, Altered Images, Altered Images, Altered Images.
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.