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 Saudi Arabia and from Lyon.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Delhi and Toronto.
I'm losing my edge to the art-school Beijing 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 spring reverb 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 Scott Walker to the rap 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 Cecil Taylor. All the underground hits.
All Visage tracks. I heard you have a vinyl of every Gang Green record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an oboe and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Louis and Bebe Barron record.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Angels of Light,
R.M.O.,
Röyhkä ja Rättö ja Lehtisalo,
Heavy D & The Boyz,
Bizarre Inc.,
Shuggie Otis,
The New Christs,
Joyce Sims,
Alice Coltrane,
Andrew Hill,
Warsaw,
The Real Kids,
Captain Beefheart & His Magic Band,
Stiv Bators,
Major Organ And The Adding Machine,
Boredoms,
Gang Green,
Maurizio,
Gichy Dan,
Kurtis Blow,
Eyeless In Gaza,
Barclay James Harvest,
Circle Jerks,
Mantronix,
The Gladiators,
Big Daddy Kane,
Tears for Fears,
Joensuu 1685,
Khruangbin,
The Moleskins,
Dead Boys,
The Residents,
Gang Starr,
Eden Ahbez,
Soft Cell,
Fear,
The Victims,
Letta Mbulu,
CMW,
The Barracudas,
Japan,
Q and Not U,
The Walker Brothers,
Liliput,
Rosa Yemen,
Bang On A Can,
Alison Limerick,
The West Coast Pop Art Experimental Band,
Aswad,
Ken Boothe,
the Soft Cell,
Tommy Roe,
Motorama,
Delta 5,
N.O.R.E. Featuring Pharrell,
Maleditus Sound,
Duran Duran,
June Days,
Morten Harket,
Bobby Byrd,
The Fortunes, The Fortunes, The Fortunes, The Fortunes.
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.