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 Costa Rica and from Toronto.
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 1973.
I'm losing my edge.
To all the kids in Seoul and Halifax.
I'm losing my edge to the art-school Calgary 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the sitar sounds with much patience.
I was there when Nile Rodgers 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 Inner City to the rap kids.
I played it at the 40 Watt.
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 Gregory Isaacs. All the underground hits.
All Ossler tracks. I heard you have a vinyl of every Pulsallama record on German import.
I heard that you have a white label of every seminal crunk 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 a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Faraquet record.
I hear that you and your band have sold your linndrum and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crime,
The Sonics,
Matthew Halsall,
Sällskapet,
Ultravox,
New York Dolls,
Oblivians,
Tubeway Army,
the Human League,
U.S. Maple,
Sex Pistols,
Kaleidoscope,
Barry Ungar,
Cheater Slicks,
Man Parrish,
Mark Hollis,
The Offenders,
Avey Tare's Slasher Flicks,
Section 25,
Michelle Simonal,
Jimmy McGriff,
The Smiths,
The Buckinghams,
Tropical Tobacco,
Can,
Beasts of Bourbon,
The Toasters,
Index,
Curtis Mayfield,
Junior Murvin,
These Immortal Souls,
B.T. Express,
The Jesus and Mary Chain,
Laurel Aitken,
Janne Schatter,
The Birthday Party,
X-102,
Kerrie Biddell,
Marc Almond,
La Düsseldorf,
Jesper Dahlbäck,
Ronan,
Todd Terry,
Radio Birdman,
Man Eating Sloth,
the Germs,
Brass Construction,
The Fugs,
Joy Division,
Ornette Coleman,
The Gap Band,
cv313,
Gang Gang Dance,
Grey Daturas,
Pierre Henry,
Cal Tjader,
Echospace,
The Red Krayola,
Flash Fearless,
Bill Wells, Bill Wells, Bill Wells, Bill Wells.
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.