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 Colombia and from Salvador.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Johannesburg and Bremen.
I'm losing my edge to the art-school Paris 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 spring reverb sounds with much patience.
I was there when Robert Palmer 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 Scrapy to the disco kids.
I played it at the Spitz.
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 Negative Approach. All the underground hits.
All The Mojo Men tracks. I heard you have a vinyl of every Althea and Donna record on German import.
I heard that you have a white label of every seminal funk 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 synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Royal Family And The Poor record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Japan,
Black Pus,
Metal Thangz,
Throbbing Gristle,
Essential Logic,
John Lydon,
EPMD,
Masters at Work,
The Flesh Eaters,
Notorious BIG live in Amsterdam,
Neil Young & Crazy Horse,
Robert Hood,
ABBA,
Joe Smooth,
Excepter,
Rites of Spring,
The Music Machine,
Spoonie Gee,
Nick Fraelich,
Bang on a Can All-Stars,
Gang Starr,
The Wake,
Q65,
Von Mondo,
Electric Light Orchestra,
Absolute Body Control,
Derrick May,
Swans,
James White and The Blacks,
Average White Band,
Eurythmics,
Sexual Harrassment,
Faust,
Newcleus,
Ultramagnetic MC's,
Brand Nubian,
Youth Brigade,
Spandau Ballet,
Sun City Girls,
Supertramp,
The Jesus and Mary Chain,
Avey Tare's Slasher Flicks,
The Walker Brothers,
Black Flag,
Stockholm Monsters,
Lizzy Mercier Descloux,
Agent Orange,
Au Pairs,
Dark Day,
Marshall Jefferson,
Kool Moe Dee,
The United States of America,
Stereo Dub,
Slave,
The Searchers,
Circle Jerks,
The Young Rascals,
the Fania All-Stars,
Lower 48,
Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock.
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.