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 Cuba and from Stockholm.
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 1960 to 1974.
I'm losing my edge.
To all the kids in London and Milan.
I'm losing my edge to the art-school Mexico City 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 1968 at the first Bowie practice in a loft in Bromley.
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 Davy DMX to the funk 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 Scientists. All the underground hits.
All Charles Mingus tracks. I heard you have a vinyl of every Unrelated Segments record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a harpsichord and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Pulsallama record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Talk Talk,
Fad Gadget,
Monks,
The Residents,
New Age Steppers,
The Sound,
Junior Murvin,
The Walker Brothers,
Chris & Cosey,
Letta Mbulu,
Nas,
Michelle Simonal,
Liaisons Dangereuses,
Jandek,
Public Enemy,
Goldenarms,
Fela Kuti,
The Vogues,
Alison Limerick,
Country Teasers,
Lyres,
Gang Green,
Crime,
Robert Görl,
Alice Coltrane,
DNA,
X-Ray Spex,
The Motions,
The Toasters,
The Cure,
Stetsasonic,
U.S. Maple,
The Leaves,
The Count Five,
The Searchers,
ABBA,
Yellowson,
Cybotron,
Maleditus Sound,
Von Mondo,
Thompson Twins,
Davy DMX,
John Coltrane,
Harpers Bizarre,
Delon & Dalcan,
Cymande,
The Busters,
The Saints,
The Zeros,
The Doobie Brothers,
K-Klass,
Kaleidoscope,
48th St. Collective,
Beasts of Bourbon,
Rosa Yemen,
Major Organ And The Adding Machine,
Kool Moe Dee,
Japan,
Black Sheep,
Crooked Eye,
The Gories, The Gories, The Gories, The Gories.
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.