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 Slovenia and from Stockholm.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Delhi and Tokyo.
I'm losing my edge to the art-school Johannesburg 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 Tom Verlaine 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 Art Ensemble Of Chicago to the rap kids.
I played it at Cafe Wha.
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 Funkadelic. All the underground hits.
All Matthew Halsall tracks. I heard you have a vinyl of every Toni Rubio 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 '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Harpers Bizarre record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Moody Blues,
Model 500,
Siouxsie and the Banshees,
World's Most,
T.S.O.L.,
The Monochrome Set,
The Tremeloes,
F. McDonald,
Basic Channel,
Au Pairs,
Wally Richardson,
John Lydon,
Byron Stingily,
Aswad,
Whodini,
Graham Central Station,
Nils Olav,
Television,
The Misunderstood,
Sound Behaviour,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Peter and Kerry,
Dawn Penn,
Wasted Youth,
Sun Ra,
Marmalade,
The Stooges,
Sun City Girls,
Half Japanese,
The Move,
Godley & Creme,
Notorious Big And Bone Thugs,
Magma,
Soulsonic Force,
Moby Grape,
Colin Newman,
Little Man,
The Modern Lovers,
Arthur Verocai,
kango's stein massive,
Q65,
Urselle,
Underground Resistance,
Lyres,
Juan Atkins,
Bobbi Humphrey,
Jeff Mills,
Ultra Naté,
Kango’s Stein Massive,
Negative Approach,
Dark Day,
Moss Icon,
Marine Girls,
Radiohead,
Fat Boys,
Davy DMX,
MDC,
Lakeside,
Tears for Fears,
The Peanut Butter Conspiracy,
Television Personalities,
Lizzy Mercier Descloux,
Susan Cadogan, Susan Cadogan, Susan Cadogan, Susan Cadogan.
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.