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 Brunei and from Calgary.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1971.
I'm losing my edge.
To all the kids in Lille and Tokyo.
I'm losing my edge to the art-school Philadelphia 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 chamberlin 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 X-101 to the disco kids.
I played it at the Hacienda.
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 Jesper Dahlbäck. All the underground hits.
All The Saints tracks. I heard you have a vinyl of every Gang Gang Dance record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Spandau Ballet record.
I hear that you and your band have sold your snare and bought a marimba.
I hear that you and your band have sold your marimba and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eli Mardock,
Dark Day,
Pierre Henry,
The Smoke,
The Durutti Column,
Grauzone,
FM Einheit,
June Days,
Newcleus,
Kauko Röyhkä ja Narttu,
Althea and Donna,
Deutsch Amerikanische Freundschaft,
These Immortal Souls,
New Age Steppers,
Fatback Band,
Negative Approach,
the Normal,
Crooked Eye,
Neil Young & Crazy Horse,
The Real Kids,
Eyeless In Gaza,
Erykah Badu,
Ohio Players,
Qualms,
Pagans,
Matthew Halsall,
Sun Ra Arkestra,
The Alarm Clocks,
Funky Four + One,
Darondo,
The Shadows of Knight,
Kas Product,
The Velvet Underground,
10cc,
Cluster,
The Motions,
Jacques Brel,
Swell Maps,
Panda Bear,
James White and The Blacks,
Gary Puckett & The Union Gap,
Pete Rock & C.L. Smooth,
Lafayette Afro Rock Band,
Alphaville,
The Beau Brummels,
Todd Terry,
Pussy Galore,
Bill Wells,
Donny Hathaway,
Sam Rivers,
James Chance & The Contortions,
Little Man,
Scrapy,
The Last Poets,
Gang of Four,
Mad Mike,
Alison Limerick,
Young Marble Giants,
Visionaries,LMNO, T- Love & Iriscience,
The Cure, The Cure, The Cure, The Cure.
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.