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 Macedonia and from Philadelphia.
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 1968 to 1979.
I'm losing my edge.
To all the kids in London and Bremen.
I'm losing my edge to the art-school Columbus 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 1984 at the first Arcadia practice in a loft in London.
I was working on the sitar 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 Q65 to the funk kids.
I played it at the Hacienda.
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 Strawberry Alarm Clock. All the underground hits.
All John Coltrane tracks. I heard you have a vinyl of every James Chance & The Contortions 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 '70s cut and another box set from the '70s.
I hear you're buying a mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Massinfluence record.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Country Joe & The Fish,
Fear,
New Age Steppers,
ABC,
John Holt,
The West Coast Pop Art Experimental Band,
The Wake,
Byron Stingily,
The Cure,
Mantronix,
8 Eyed Spy,
Girls At Our Best!,
Eden Ahbez,
Lalann,
Neil Young,
The Evens,
Morten Harket,
the Fania All-Stars,
Jacob Miller,
Pantytec,
It's A Beautiful Day,
Desert Stars,
Notorious Big And Bone Thugs,
Nirvana,
Colin Newman,
Heavy D & The Boyz,
Shoche,
Little Man,
Robert Hood,
Pagans,
Charles Mingus,
The Pop Group,
Graham Central Station,
Bizarre Inc.,
Mandrill,
Faraquet,
Moss Icon,
Easy Going,
Kevin Saunderson,
The Zeros,
Jerry Gold Smith,
Avey Tare & Kría Brekkan,
Lindisfarne,
Stetsasonic,
Jimmy McGriff,
the Bar-Kays,
Flamin' Groovies,
The Angels of Light,
Erykah Badu,
Unwound,
Symarip,
Be Bop Deluxe,
Depeche Mode,
H. Thieme,
Gil Scott Heron,
Darondo,
Mars,
Barbara Tucker,
Harmonia,
Thompson Twins,
Hardrive,
Joe Finger,
Sexual Harrassment, Sexual Harrassment, Sexual Harrassment, Sexual Harrassment.
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.