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 United States and from Hong Kong.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Cairo and Jakarta.
I'm losing my edge to the art-school Woodstock 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 1971 at the first Big Star practice in a loft in Memphis.
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 Crash Course in Science to the crunk kids.
I played it at the Astoria.
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 Heavy D & The Boyz. All the underground hits.
All Boz Scaggs tracks. I heard you have a vinyl of every The Durutti Column 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 '50s cut and another box set from the '90s.
I hear you're buying a chamberlin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a New Order record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Young Marble Giants,
Dawn Penn,
Fluxion,
Avey Tare,
Siouxsie and the Banshees,
Moby Grape,
Suicide,
Lou Reed,
The Zeros,
Technova,
Don Cherry,
Ponytail,
The Count Five,
Marmalade,
The Move,
Mad Mike,
Terrestrial Tones,
Hashim,
Joensuu 1685,
8 Eyed Spy,
Severed Heads,
Fear,
Frankie Knuckles,
The Real Kids,
Sun Ra Arkestra,
Joyce Sims,
Warren Ellis,
Justin Hinds & The Dominoes,
Louis and Bebe Barron,
Arthur Verocai,
Deakin,
Gang Gang Dance,
Basic Channel,
Echospace,
The Martian,
Sällskapet,
New York Dolls,
Black Sheep,
Robert Wyatt,
Pylon,
Bluetip,
Dark Day,
The Young Rascals,
Brothers Johnson,
Slave,
Barclay James Harvest,
X-Ray Spex,
Aswad,
Lou Christie,
the Sonics,
the Normal,
The Skatalites,
Matthew Bourne,
Monks,
Kerri Chandler,
Eyeless In Gaza,
Crime,
Simply Red,
The Mojo Men, The Mojo Men, The Mojo Men, The Mojo Men.
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.