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 Tuvalu and from Milan.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Manchester and Madrid.
I'm losing my edge to the art-school Manila 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 Art of Noise practice in a loft in London.
I was working on the theremin 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 The Motions to the jazz kids.
I played it at the Crocodile.
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 Bluetip. All the underground hits.
All Laurel Aitken tracks. I heard you have a vinyl of every Alton Ellis record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a snare and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Siglo XX record.
I hear that you and your band have sold your marimba and bought a sitar.
I hear that you and your band have sold your sitar and bought a marimba.
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,
Joey Negro,
The Slits,
New York Dolls,
Icehouse,
Johnny Clarke,
The Fire Engines,
The Offenders,
Barclay James Harvest,
Moss Icon,
Big Daddy Kane,
Mantronix,
Saccharine Trust,
JFA,
T. Rex,
Peter Gordon & Love of Life Orchestra,
Minutemen,
Bob Dylan,
The Gladiators,
Bad Manners,
Wally Richardson,
Byron Stingily,
Echo & the Bunnymen,
Justin Hinds & The Dominoes,
Heaven 17,
The Gap Band,
Yellowson,
Strawberry Alarm Clock,
The Techniques,
Gastr Del Sol,
Funky Four + One,
Skarface,
Wings,
kango's stein massive,
Alison Limerick,
The Five Americans,
Au Pairs,
Anthony Braxton,
Cymande,
Clear Light,
Schoolly D,
The Kinks,
Underground Resistance,
The Motions,
The Victims,
X-Ray Spex,
Fatback Band,
Throbbing Gristle,
Jesper Dahlback,
Camberwell Now,
Radiopuhelimet,
Royal Trux,
Brass Construction,
Donny Hathaway,
Depeche Mode,
Radiohead,
Avey Tare & Kría Brekkan,
Sight & Sound,
Sun City Girls,
The Dave Clark Five,
Marc Romboy vs. Booka Shade, Marc Romboy vs. Booka Shade, Marc Romboy vs. Booka Shade, Marc Romboy vs. Booka Shade.
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.