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 Vanuatu and from Halifax.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Beijing and Johannesburg.
I'm losing my edge to the art-school Madrid 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 sitar sounds with much patience.
I was there when Nile Rodgers 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 jazz 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 Boredoms. All the underground hits.
All Dorothy Ashby tracks. I heard you have a vinyl of every Charles Mingus record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a linndrum and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Reuben Wilson record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dual Sessions,
The Doors,
Aural Exciters,
Orchestral Manoeuvres in the Dark,
Pagans,
The Happenings,
Nirvana,
Andrew Hill,
June of 44,
The Five Americans,
Jesper Dahlback,
Swans,
Connie Case,
Index,
Shoche,
The Chocolate Watch Band,
Ohio Players,
Matthew Bourne,
Can,
Archie Shepp,
Oppenheimer Analysis,
Panda Bear,
Pierre Henry,
Gary Puckett & The Union Gap,
Bizarre Inc.,
Arcadia,
Harpers Bizarre,
Quando Quango,
Thee Headcoats,
The Flesh Eaters,
Moss Icon,
Amon Düül II,
Warsaw,
The Stooges,
Sandy B,
Anakelly,
The Moody Blues,
Avey Tare & Kría Brekkan,
Fort Wilson Riot,
Jawbox,
Soul Sonic Force,
kango's stein massive,
Joy Division,
A Flock of Seagulls,
Shuggie Otis,
Animal Collective,
Quantec,
The Count Five,
Visionaries,LMNO, T- Love & Iriscience,
Marvin Gaye,
The Mummies,
The Saints,
T. Rex,
Sun Ra Arkestra,
Sonny Sharrock,
Negative Approach,
Flash Fearless,
Althea and Donna,
Sight & Sound,
Terry Callier,
Television Personalities,
Mission of Burma,
Echospace,
Steve Hackett, Steve Hackett, Steve Hackett, Steve Hackett.
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.