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 Benin and from Salvador.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Seoul and New York.
I'm losing my edge to the art-school Winnipeg 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 rhodes 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 a-ha 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 Young Marble Giants. All the underground hits.
All Deakin tracks. I heard you have a vinyl of every EPMD 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 '70s.
I hear you're buying a clarinet and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Crime record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Major Organ And The Adding Machine,
Albert Ayler,
Jandek,
Faraquet,
Sad Lovers and Giants,
Subhumans,
Lakeside,
Wasted Youth,
The Blackbyrds,
Soulsonic Force,
Depeche Mode,
The Barracudas,
Crispy Ambulance,
Gerry Rafferty,
Juan Atkins,
Los Fastidios,
Public Enemy,
Suburban Knight,
Moby Grape,
Roxette,
Gian Franco Pienzio,
Oblivians,
Althea and Donna,
Soft Machine,
The Residents,
Y Pants,
Zero Boys,
Jerry Gold Smith,
Lafayette Afro Rock Band,
X-101,
Dual Sessions,
Jacques Brel,
Kerri Chandler,
Bluetip,
John Coltrane,
Marc Romboy vs. Booka Shade,
Jerry's Kids,
Soul Sonic Force,
Gil Scott Heron,
Arab on Radar,
Graham Central Station,
Traffic Nightmare,
Kool G Rap & DJ Polo,
the Soft Cell,
Scan 7,
Brothers Johnson,
The Associates,
Godley & Creme,
Fluxion,
Peter Gordon & Love of Life Orchestra,
Ajijia Myrayebe,
Mantronix,
Fela Kuti,
Derrick May,
Rites of Spring,
Porter Ricks,
The Fuzztones,
The Smiths,
Man Parrish,
Nick Fraelich,
Robert Görl, Robert Görl, Robert Görl, Robert Görl.
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.