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 Singapore and from Columbus.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1964 to 1971.
I'm losing my edge.
To all the kids in Bologna and Lyon.
I'm losing my edge to the art-school Lille 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 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 Be Bop Deluxe to the funk kids.
I played it at the Crocodile.
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 Andrew Hill. All the underground hits.
All Janne Schatter tracks. I heard you have a vinyl of every Lindisfarne 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 '80s cut and another box set from the '90s.
I hear you're buying a sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Bourne,
Flipper,
Fort Wilson Riot,
The Skatalites,
Tom Boy,
Idris Muhammad,
Amon Düül II,
Kauko Röyhkä ja Narttu,
The Tremeloes,
Aloha Tigers,
JFA,
The Doors,
The Men They Couldn't Hang,
Marc Romboy vs. Booka Shade,
Bill Near,
Ohio Players,
Manfred Mann's Earth Band,
The Evens,
Country Teasers,
The Blackbyrds,
De La Soul & Jungle Brothers,
Angry Samoans,
Al Stewart,
Radio Birdman,
Goldenarms,
Alice Coltrane,
Metal Thangz,
Flash Fearless,
John Holt,
Kango’s Stein Massive,
Magazine,
The Pop Group,
Livin' Joy,
Franke,
Lizzy Mercier Descloux,
Neil Young & Crazy Horse,
Panda Bear,
David Axelrod,
Curtis Mayfield,
Bobby Byrd,
L. Decosne,
Visage,
Nas,
Kool G Rap & DJ Polo,
The Seeds,
Bizarre Inc.,
Hasil Adkins,
Loose Ends,
The Smiths,
Wings,
Graham Central Station,
Alphaville,
Jerry's Kids,
Delon & Dalcan,
Delta 5,
Davy DMX,
Bootsy's Rubber Band,
Scratch Acid,
Black Moon,
Von Mondo,
Big Daddy Kane,
The Index,
Selector Dub Narcotic,
Cal Tjader, Cal Tjader, Cal Tjader, Cal Tjader.
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.