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 Liberia and from Stockholm.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Woodstock and Beijing.
I'm losing my edge to the art-school Halifax 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 oboe sounds with much patience.
I was there when David Bowie 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 EPMD to the rock kids.
I played it at the Troubador.
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 Kerrie Biddell. All the underground hits.
All The Sonics tracks. I heard you have a vinyl of every AZ record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a marimba and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Associates record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Beau Brummels,
The Misunderstood,
New Age Steppers,
Bob Dylan,
Au Pairs,
Dead Boys,
Cecil Taylor,
Rhythim Is Rhythim,
Camberwell Now,
Mantronix,
ABC,
Vainqueur,
48th St. Collective,
Warsaw,
Bill Wells,
Adolescents,
The Fire Engines,
Sad Lovers and Giants,
Angry Samoans,
Gil Scott-Heron and Jamie xx,
Amazonics,
Gang Starr,
ABBA,
The Flesh Eaters,
Subhumans,
Kenny Larkin,
The Vogues,
The Move,
Smog,
Fat Boys,
Aural Exciters,
Loose Ends,
Echo & the Bunnymen,
Pharaoh Sanders and the Fire Engines,
Lou Reed,
Stetsasonic,
Thinking Fellers Union Local 282,
Vladislav Delay,
The Cramps,
Sight & Sound,
Jimmy McGriff,
Juan Atkins,
The Selecter,
X-101,
Public Enemy,
Barrington Levy,
Mission of Burma,
DeepChord presents Echospace,
AZ,
Flipper,
Icehouse,
Sparks,
Bobby Womack,
Scott Walker,
Symarip,
The Mummies,
Sly & The Family Stone,
Pole,
Alison Limerick,
Byron Stingily,
Deutsch Amerikanische Freundschaft,
Louis and Bebe Barron,
Organ,
The Seeds,
The Dave Clark Five, The Dave Clark Five, The Dave Clark Five, The Dave Clark Five.
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.