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 Austria and from Madrid.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Calgary and Copenhagen.
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 1976 at the first Wire practice in a loft in Watford.
I was working on the marimba sounds with much patience.
I was there when Nile Rodgers 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 Symarip to the crunk 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 Pylon. All the underground hits.
All Ronan tracks. I heard you have a vinyl of every The Evens record on German import.
I heard that you have a white label of every seminal funk 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 marimba and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Parry Music record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rapeman,
Soulsonic Force,
Archie Shepp,
Adolescents,
Hardrive,
Eric B and Rakim,
Sticky Fingaz feat. Raekwon,
The Monks,
Blossom Toes,
Marshall Jefferson,
Eurythmics,
Second Layer,
June of 44,
Nik Kershaw,
Gichy Dan,
Silicon Teens,
Soft Machine,
the Normal,
The Buckinghams,
Bluetip,
Art Ensemble Of Chicago,
Half Japanese,
The Gun Club,
Babytalk,
U.S. Maple,
K-Klass,
Gil Scott Heron,
Mr. Review,
Amon Düül,
Vainqueur,
Terrestrial Tones,
Circle Jerks,
David McCallum,
UT,
Agitation Free,
Drive Like Jehu,
Slick Rick,
Kool Moe Dee,
Hashim,
Rakim,
Brass Construction,
Severed Heads,
Scrapy,
the Fania All-Stars,
OOIOO,
Mary Jane Girls,
Sandy B,
Pierre Henry,
The Walker Brothers,
The Tremeloes,
Massinfluence,
Camron Feat. Memphis Bleek And Beenie Seigel,
Arcadia,
Das Ding,
Traffic Nightmare,
The Electric Prunes,
Frankie Knuckles,
Yaz,
Magma,
Neil Young,
Brick,
Lou Reed & Metallica,
Ituana, Ituana, Ituana, Ituana.
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.