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 Bhutan and from Manchester.
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 1964 to 1972.
I'm losing my edge.
To all the kids in New York and Beijing.
I'm losing my edge to the art-school New York 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 chamberlin sounds with much patience.
I was there when Lou Reed 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 Dorothy Ashby to the jazz 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 Rhythim Is Rhythim. All the underground hits.
All Stockholm Monsters tracks. I heard you have a vinyl of every Scrapy record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Andrew Hill record.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moss Icon,
The Moody Blues,
Mark Hollis,
Motorama,
the Bar-Kays,
The Gap Band,
Marmalade,
Nico,
Sexual Harrassment,
This Heat,
Loose Ends,
The Cowsills,
Radiohead,
The Trojans,
The New Christs,
Quantec,
Cabaret Voltaire,
Aaron Thompson,
Josef K,
Harpers Bizarre,
Absolute Body Control,
The Peanut Butter Conspiracy,
Boogie Down Productions,
Banda Bassotti,
Fat Boys,
Derrick May,
Eden Ahbez,
Trumans Water,
Barbara Tucker,
K-Klass,
The Fuzztones,
Lou Reed,
Simply Red,
Minutemen,
Michelle Simonal,
Ronnie Foster,
DJ Sneak,
James Chance & The Contortions,
the Association,
The Golliwogs,
Ponytail,
The Skatalites,
Fluxion,
kango's stein massive,
Andrew Ashong & Theo Parrish,
Rekid,
The West Coast Pop Art Experimental Band,
A Flock of Seagulls,
Matthew Halsall,
Sam Rivers,
These Immortal Souls,
Deepchord,
Vladislav Delay,
Rapeman,
The Real Kids,
Archie Shepp,
Crash Course in Science,
Harry Pussy,
Angels of Light & Akron/Family,
UT,
Sällskapet, Sällskapet, Sällskapet, Sällskapet.
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.