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 Spain and from Cairo.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Accra and Calgary.
I'm losing my edge to the art-school Shanghai 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 1983 at the first Bronski Beat practice in a loft in Brixton.
I was working on the sitar sounds with much patience.
I was there when David Bowie 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 Joensuu 1685 to the techno kids.
I played it at the Spitz.
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 London Community Gospel Choir. All the underground hits.
All The Associates tracks. I heard you have a vinyl of every Dark Day 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 '60s cut and another box set from the '80s.
I hear you're buying a snare and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Moody Blues record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Inner City,
Barclay James Harvest,
Boogie Down Productions,
The Angels of Light,
Eyeless In Gaza,
CMW,
Talk Talk,
Kayak,
John Coltrane,
Fatback Band,
Pantytec,
Red Lorry Yellow Lorry,
Reagan Youth,
Toni Rubio,
Big Daddy Kane,
Danielle Patucci,
Spoonie Gee,
The Wake,
Make Up,
Piero Umiliani,
Oppenheimer Analysis,
Intrusion,
The Happenings,
Cybotron,
Soulsonic Force,
Nirvana,
Funkadelic,
Rhythim Is Rhythim,
Pantaleimon,
Alison Limerick,
Sexual Harrassment,
Rites of Spring,
Spandau Ballet,
Kevin Saunderson,
Bill Near,
Lucky Dragons,
Fifty Foot Hose,
The Leaves,
Johnny Clarke,
Q and Not U,
AZ,
Dawn Penn,
Notorious BIG live in Amsterdam,
Animal Collective,
Slave,
Au Pairs,
T. Rex,
Arthur Verocai,
Ossler,
World's Most,
Index,
Sandy B,
Procol Harum,
Rahsaan Roland Kirk,
Maurizio,
Manfred Mann's Earth Band,
Porter Ricks,
John Cale,
Marc Almond,
the Soft Cell,
Accadde A,
Brick, Brick, Brick, Brick.
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.