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 Malawi and from Copenhagen.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Bologna and Paris.
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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the güiro 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 Peter and Kerry to the punk kids.
I played it at the Troubador.
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 Little Man. All the underground hits.
All Marvin Gaye tracks. I heard you have a vinyl of every Godley & Creme record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Excepter record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lakeside,
The Monochrome Set,
Brothers Johnson,
Boredoms,
The Beau Brummels,
Cecil Taylor,
Gichy Dan,
MC5,
Siouxsie and the Banshees,
Camron Feat. Memphis Bleek And Beenie Seigel,
Lalo Schifrin,
Black Pus,
ABC,
Gil Scott-Heron & Brian Jackson,
Andrew Hill,
The Jesus and Mary Chain,
Bang on a Can All-Stars,
Lee Hazlewood,
The Modern Lovers,
Joyce Sims,
Henry Cow,
H. Thieme,
kango's stein massive,
Darondo,
Avey Tare & Kría Brekkan,
The Tremeloes,
The Royal Family And The Poor,
the Association,
Quadrant,
Orchestral Manoeuvres in the Dark,
Robert Hood,
Soul Sonic Force,
Grauzone,
Zero Boys,
Siglo XX,
Beasts of Bourbon,
Rakim,
Hot Snakes,
Tears for Fears,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Blancmange,
Sugar Minott,
Youth Brigade,
Fluxion,
Thompson Twins,
The Trojans,
Alice Coltrane,
Lou Reed & John Cale,
John Lydon,
James White and The Blacks,
Moebius,
Fort Wilson Riot,
Ludus,
Smog,
Make Up,
Bootsy Collins,
Flash Fearless,
Jeru the Damaja,
Delta 5,
Mr. Review,
Wasted Youth,
Lyres,
The Motions,
The Buckinghams,
The Last Poets, The Last Poets, The Last Poets, The Last Poets.
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.