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 Morocco and from Mexico City.
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 1961 to 1972.
I'm losing my edge.
To all the kids in London and Johannesburg.
I'm losing my edge to the art-school Hong Kong 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 mellotron sounds with much patience.
I was there when Holger Czukay 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 Anthony Braxton to the punk 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 Man Parrish. All the underground hits.
All Vainqueur tracks. I heard you have a vinyl of every Soft Cell 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 '60s cut and another box set from the '80s.
I hear you're buying an organ and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Country Teasers record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Slave,
Aural Exciters,
World's Most,
Lyres,
The Smoke,
Visionaries,LMNO, T- Love & Iriscience,
Camberwell Now,
Spandau Ballet,
Smog,
the Association,
Kenny Larkin,
Bobby Byrd,
Erykah Badu,
Jandek,
Carl Craig,
John Foxx,
Cal Tjader,
The Kinks,
Blake Baxter,
Andrew Hill,
The Chocolate Watch Band,
JFA,
Major Organ And The Adding Machine,
Blancmange,
Talk Talk,
Jeff Lynne,
Todd Terry,
Eve St. Jones,
June of 44,
Black Bananas,
Pagans,
Tomorrow,
Malaria!,
Audionom,
Rosa Yemen,
Davy DMX,
The Wake,
Neil Young,
London Community Gospel Choir,
Avey Tare & Kría Brekkan,
David Bowie,
Wolf Eyes,
Gil Scott-Heron & Brian Jackson,
Los Fastidios,
Avey Tare,
The Slits,
John Cale,
X-Ray Spex,
Dawn Penn,
Ash Ra Tempel,
Scott Walker,
The Pop Group,
The Residents,
Archie Shepp,
Lou Christie,
Andrew Ashong & Theo Parrish,
Fifty Foot Hose,
Kool G Rap & DJ Polo,
Absolute Body Control,
the Swans,
Peter and Kerry, Peter and Kerry, Peter and Kerry, Peter and Kerry.
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.