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 Spokane.
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 1974.
I'm losing my edge.
To all the kids in Philadelphia and Winnipeg.
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 1984 at the first Arcadia practice in a loft in London.
I was working on the organ 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 Pete Rock & C.L. Smooth to the jazz kids.
I played it at the Spitz.
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 JFA. All the underground hits.
All Jimmy McGriff tracks. I heard you have a vinyl of every This Heat record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a theremin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Girls At Our Best! record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Metal Thangz,
Underground Resistance,
The Monks,
Pierre Henry,
the Bar-Kays,
Bang On A Can,
Kayak,
Bauhaus,
Boogie Down Productions,
Kurtis Blow,
Trumans Water,
Aloha Tigers,
Sparks,
Bobby Byrd,
Gang of Four,
Lou Reed & Metallica,
Thompson Twins,
ABBA,
The Motions,
Marine Girls,
Ultravox,
The Wake,
De La Soul & Jungle Brothers,
Throbbing Gristle,
Anthony Braxton,
The Sonics,
Man Eating Sloth,
The Moody Blues,
Gang Starr,
the Germs,
The Human League,
Cameo,
Sight & Sound,
a-ha,
Graham Central Station,
The Royal Family And The Poor,
Kauko Röyhkä ja Narttu,
Fifty Foot Hose,
The Residents,
Ash Ra Tempel,
The Cowsills,
Half Japanese,
Robert Görl,
The West Coast Pop Art Experimental Band,
The Remains,
Art Ensemble Of Chicago,
Khruangbin,
Brass Construction,
Marmalade,
Kas Product,
The Peanut Butter Conspiracy,
Bootsy Collins,
Black Bananas,
the Association,
Agent Orange,
Black Flag,
New Order,
Ossler,
Bill Wells,
The Fire Engines,
Darondo,
Aural Exciters,
Roy Ayers, Roy Ayers, Roy Ayers, Roy Ayers.
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.