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 Congo and from Edmonton.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Milan and Mumbai.
I'm losing my edge to the art-school Manchester 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 organ sounds with much patience.
I was there when Donald Fagen 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 Unwound to the crunk kids.
I played it at CBGB's.
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 Popol Vuh. All the underground hits.
All Loose Ends tracks. I heard you have a vinyl of every Flipper 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 '80s cut and another box set from the '80s.
I hear you're buying a synthesizer and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Harry Pussy record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sun Ra Arkestra,
Sun City Girls,
Kings Of Tomorrow,
Kas Product,
Technova,
New Age Steppers,
Letta Mbulu,
Freddie Wadling,
Oneida,
Deadbeat,
Dave Gahan,
Black Sheep,
Delon & Dalcan,
The Music Machine,
The Raincoats,
Sällskapet,
Roy Ayers Ubiquity,
Laurel Aitken,
The Real Kids,
Andrew Ashong & Theo Parrish,
Susan Cadogan,
Crime,
London Community Gospel Choir,
Liliput,
The Motions,
Cymande,
Johnny Osbourne,
Zero Boys,
Gabor Szabo,
Grey Daturas,
The Mighty Diamonds,
Skarface,
Spandau Ballet,
Pulsallama,
Flipper,
Sunsets and Hearts,
Parry Music,
T. Rex,
John Cale,
Fifty Foot Hose,
Grandmaster Flash,
David McCallum,
Trumans Water,
the Swans,
Soft Cell,
The Red Krayola,
The Star Department,
Drive Like Jehu,
Soft Machine,
Jerry Gold Smith,
Lou Reed & John Cale,
The Seeds,
Albert Ayler,
Scion,
Sarah Menescal,
Grandmaster Flash and the Furious Five,
Hot Snakes,
Porter Ricks,
Ten City, Ten City, Ten City, Ten City.
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.