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 Denmark and from Edmonton.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1970.
I'm losing my edge.
To all the kids in Houston and Halifax.
I'm losing my edge to the art-school Glasgow 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 marimba sounds with much patience.
I was there when Tom Verlaine 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 China Crisis to the grime kids.
I played it at Trash.
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 Simply Red. All the underground hits.
All Derrick May tracks. I heard you have a vinyl of every Ken Boothe 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 '50s cut and another box set from the '90s.
I hear you're buying a theremin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Beau Brummels record.
I hear that you and your band have sold your organ and bought an oboe.
I hear that you and your band have sold your oboe and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Slave,
Soul II Soul,
Public Enemy,
Joe Finger,
Archie Shepp,
Jacques Brel,
Orchestral Manoeuvres in the Dark,
Country Teasers,
Juan Atkins,
Kaleidoscope,
Fad Gadget,
Tropical Tobacco,
Bootsy's Rubber Band,
Negative Approach,
The Smoke,
The Victims,
The Standells,
Bootsy Collins,
Khruangbin,
Letta Mbulu,
Eric Dolphy,
Pulsallama,
Scratch Acid,
Half Japanese,
Wings,
U.S. Maple,
The Grass Roots,
ABC,
Monks,
8 Eyed Spy,
Wolf Eyes,
The United States of America,
Lafayette Afro Rock Band,
Peter & Gordon,
Little Man,
Chris & Cosey,
Faraquet,
Radiopuhelimet,
The Doors,
Peter and Kerry,
Interpol,
Captain Beefheart & His Magic Band,
Oppenheimer Analysis,
The Human League,
Dead Boys,
Blancmange,
Soulsonic Force,
The Moody Blues,
Bizarre Inc.,
Deakin,
Reuben Wilson,
X-101,
Albert Ayler,
Kauko Röyhkä ja Narttu,
Thee Headcoats,
Prince Buster,
Whodini,
Underground Resistance,
Q and Not U,
Brand Nubian,
Ronnie Foster,
Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks.
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.