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 Nigeria and from Lyon.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Bologna and Paris.
I'm losing my edge to the art-school Taipei 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the organ sounds with much patience.
I was there when Lou Reed 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 Jacques Brel to the rap kids.
I played it at Cafe Wha.
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 Peter & Gordon. All the underground hits.
All Fort Wilson Riot tracks. I heard you have a vinyl of every Con Funk Shun record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Faust record.
I hear that you and your band have sold your clarinet and bought a theremin.
I hear that you and your band have sold your theremin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crash Course in Science,
Bill Wells,
Hoover,
Johnny Osbourne,
Deutsch Amerikanische Freundschaft,
Fad Gadget,
Angels of Light & Akron/Family,
John Coltrane,
Terrestrial Tones,
Camberwell Now,
The Fire Engines,
Stetsasonic,
T.S.O.L.,
Isaac Hayes,
The Barracudas,
Bootsy Collins,
Livin' Joy,
Kas Product,
Crime,
Half Japanese,
James Chance & The Contortions,
Infiniti,
Larry & the Blue Notes,
Black Pus,
the Germs,
Accadde A,
The American Breed,
Electric Light Orchestra,
cv313,
Von Mondo,
The Dave Clark Five,
The Fuzztones,
Eve St. Jones,
Adolescents,
Lee Hazlewood,
The Buckinghams,
The Litter,
Marvin Gaye,
Radio Birdman,
Charles Mingus,
Nick Fraelich,
Yellowson,
Traffic Nightmare,
Rotary Connection,
Dawn Penn,
Newcleus,
Crooked Eye,
Angry Samoans,
Outsiders,
Bronski Beat,
Bobby Womack,
Average White Band,
Girls At Our Best!,
Tomorrow,
Dual Sessions,
Eli Mardock,
The Cowsills,
Lou Reed,
the Normal,
Fifty Foot Hose,
Ornette Coleman,
DNA,
Magma, Magma, Magma, Magma.
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.