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 Armenia and from Hong Kong.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Edmonton and Cairo.
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 synthesizer sounds with much patience.
I was there when Captain Beefheart 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 Kevin Saunderson to the grunge 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 Stetsasonic. All the underground hits.
All Charles Mingus tracks. I heard you have a vinyl of every The Invisible record on German import.
I heard that you have a white label of every seminal crunk 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 guitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Blackbyrds record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Names,
Mark Hollis,
Adolescents,
Kool G Rap & DJ Polo,
The Monochrome Set,
The Residents,
Sound Behaviour,
Matthew Bourne,
Darondo,
Sam Rivers,
Average White Band,
Kerri Chandler,
Shoche,
the Soft Cell,
Isaac Hayes,
Schoolly D,
Heavy D & The Boyz,
The Move,
Bang On A Can,
Jacob Miller,
The Gap Band,
Richard Hell and the Voidoids,
Vainqueur,
The Sound,
Lindisfarne,
Mary Jane Girls,
Pulsallama,
Ohio Players,
Peter & Gordon,
Gabor Szabo,
Easy Going,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Bronski Beat,
Ossler,
The Star Department,
DNA,
The American Breed,
Johnny Osbourne,
Brothers Johnson,
London Community Gospel Choir,
Severed Heads,
The Count Five,
Essential Logic,
Henry Cow,
Ronan,
A Certain Ratio,
The Music Machine,
Cecil Taylor,
Amazonics,
James White and The Blacks,
The Cowsills,
Jimmy McGriff,
James Chance & The Contortions,
Fort Wilson Riot,
Morten Harket,
Siglo XX,
Sight & Sound,
Ultramagnetic MC's,
The Victims,
Chris Corsano,
Selector Dub Narcotic,
June of 44,
Rufus Thomas,
Notorious Big And Bone Thugs, Notorious Big And Bone Thugs, Notorious Big And Bone Thugs, Notorious Big And Bone Thugs.
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.