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 Tonga and from Houston.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Salvador and Tokyo.
I'm losing my edge to the art-school Milan 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 snare 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 The Royal Family And The Poor to the dance 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 Al Stewart. All the underground hits.
All Moss Icon tracks. I heard you have a vinyl of every Art Ensemble Of Chicago record on German import.
I heard that you have a white label of every seminal grime 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 a linndrum and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Moleskins record.
I hear that you and your band have sold your mellotron and bought a güiro.
I hear that you and your band have sold your güiro and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rod Modell,
The Slits,
The Monochrome Set,
Ultra Naté,
Big Daddy Kane,
Half Japanese,
Kango’s Stein Massive,
The Chocolate Watch Band,
Harmonia,
Amon Düül,
Metal Thangz,
Masters at Work,
The Music Machine,
Surgeon,
Bootsy Collins,
Easy Going,
The Martian,
Lou Reed & Metallica,
Mantronix,
Deadbeat,
Man Parrish,
Scott Walker,
the Soft Cell,
Negative Approach,
Symarip,
Notorious BIG live in Amsterdam,
Monolake,
The Skatalites,
Oblivians,
Jerry's Kids,
The Jesus and Mary Chain,
Aural Exciters,
Bobby Sherman,
Sparks,
Supertramp,
Lungfish,
OOIOO,
Jawbox,
Public Image Ltd.,
Rhythm & Sound,
Jerry Gold Smith,
Bill Near,
DJ Sneak,
Danielle Patucci,
LL Cool J,
Curtis Mayfield,
Fear,
Juan Atkins,
The Buckinghams,
Todd Rundgren,
The Tremeloes,
Kas Product,
Little Man,
Pharaoh Sanders and the Fire Engines,
Ultramagnetic MC's,
Con Funk Shun,
Maurizio,
The Shadows of Knight,
It's A Beautiful Day,
the Swans,
Sällskapet, Sällskapet, Sällskapet, Sällskapet.
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.