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 Equatorial Guinea and from Tokyo.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1971.
I'm losing my edge.
To all the kids in Halifax and Tehran.
I'm losing my edge to the art-school Copenhagen 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 güiro 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 Joe Finger to the rap 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 Cymande. All the underground hits.
All Anakelly tracks. I heard you have a vinyl of every The Monochrome Set record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a clarinet and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Lou Reed record.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-102,
Alton Ellis,
Clear Light,
Susan Cadogan,
Kerrie Biddell,
London Community Gospel Choir,
Pharoah Sanders,
Danielle Patucci,
Pulsallama,
Donny Hathaway,
The Seeds,
Cal Tjader,
Stereo Dub,
Mark Hollis,
The United States of America,
Animal Collective,
Gil Scott-Heron and Jamie xx,
Sight & Sound,
the Association,
The Electric Prunes,
Bobby Hutcherson,
Sam Rivers,
The Modern Lovers,
Sun Ra Arkestra,
Organ,
Carl Craig,
Jerry's Kids,
The Happenings,
The Pop Group,
JFA,
The Dirtbombs,
The Fugs,
Larry & the Blue Notes,
Grandmaster Flash and the Furious Five,
Matthew Halsall,
Soft Machine,
Ajijia Myrayebe,
Flipper,
Lee Hazlewood,
Agent Orange,
Frankie Knuckles,
The Slits,
Nils Olav,
The Black Dice,
Mandrill,
Half Japanese,
Banda Bassotti,
The Royal Family And The Poor,
Marvin Gaye,
Ronnie Foster,
The Leaves,
Lindisfarne,
Joe Smooth,
Eric Dolphy,
Yaz,
Intrusion,
The Names,
Marcia Griffiths,
Ken Boothe,
Minnie Riperton,
Jesper Dahlbäck,
Roy Ayers Ubiquity,
Lightning Bolt,
Johnny Osbourne, Johnny Osbourne, Johnny Osbourne, Johnny Osbourne.
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.