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 Montenegro and from Lagos.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Taipei and Mumbai.
I'm losing my edge to the art-school Woodstock 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 rhodes 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 Slick Rick to the electroclash 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 The Index. All the underground hits.
All Deepchord tracks. I heard you have a vinyl of every Minnie Riperton record on German import.
I heard that you have a white label of every seminal techno 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 güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Blake Baxter record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Maleditus Sound,
Negative Approach,
Scion,
Magma,
10cc,
Donny Hathaway,
Peter and Kerry,
Royal Trux,
Bobby Womack,
The Gap Band,
Oppenheimer Analysis,
Angels of Light & Akron/Family,
The Walker Brothers,
Aaron Thompson,
Kas Product,
Louis and Bebe Barron,
The Stooges,
The Buckinghams,
The J.B.'s,
Masters at Work,
Rapeman,
Television Personalities,
James Chance & The Contortions,
Johnny Osbourne,
Infiniti,
Roxy Music,
Rahsaan Roland Kirk,
F. McDonald,
Kerrie Biddell,
Dead Boys,
Nation of Ulysses,
Big Daddy Kane,
The Men They Couldn't Hang,
Grey Daturas,
Harry Pussy,
Soul Sonic Force,
H. Thieme,
Andrew Hill,
Depeche Mode,
U.S. Maple,
Lucky Dragons,
Lower 48,
Minor Threat,
The Alarm Clocks,
Country Joe & The Fish,
A Certain Ratio,
Black Pus,
The Tremeloes,
Al Stewart,
Ornette Coleman,
Spoonie Gee,
The Fuzztones,
Bluetip,
Pylon,
The Durutti Column,
JFA,
Moss Icon,
Soft Machine, Soft Machine, Soft Machine, Soft Machine.
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.