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 Malawi and from Paris.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Shanghai and Hong Kong.
I'm losing my edge to the art-school Bremen 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 arpeggiator 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 The Happenings to the crunk 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 Blancmange. All the underground hits.
All Barbara Tucker tracks. I heard you have a vinyl of every The Monochrome Set record on German import.
I heard that you have a white label of every seminal jazz 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 an arpeggiator and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Freddie Wadling record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crime,
Max Romeo,
Girls At Our Best!,
The Doors,
Flipper,
Pagans,
Das Ding,
Lower 48,
Idris Muhammad,
Sun Ra Arkestra,
Mo-Dettes,
Quando Quango,
The Fuzztones,
Sad Lovers and Giants,
Todd Rundgren,
The Standells,
Ken Boothe,
Ajijia Myrayebe,
Neil Young,
In Retrospect,
Oblivians,
Robert Wyatt,
Carl Craig,
Eyeless In Gaza,
Larry & the Blue Notes,
CMW,
The Smoke,
Saccharine Trust,
Minny Pops,
Scratch Acid,
James Chance & The Contortions,
LL Cool J,
The Fugs,
The Modern Lovers,
Von Mondo,
Flash Fearless,
Wolf Eyes,
Shoche,
Loose Ends,
Sticky Fingaz feat. Raekwon,
Public Image Ltd.,
Gichy Dan,
Fort Wilson Riot,
Kerri Chandler,
Arab on Radar,
Adolescents,
Procol Harum,
Chris & Cosey,
Basic Channel,
Gang Green,
Kurtis Blow,
Radiopuhelimet,
Art Ensemble Of Chicago,
Clear Light,
New Age Steppers,
Funkadelic,
The West Coast Pop Art Experimental Band,
T. Rex,
Skarface,
Man Eating Sloth,
Bizarre Inc.,
The Skatalites,
Mary Jane Girls,
Tears for Fears, Tears for Fears, Tears for Fears, Tears for Fears.
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.