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 Senegal and from Shanghai.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Spokane and Salvador.
I'm losing my edge to the art-school Salvador 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 rhodes 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 Brass Construction to the jazz kids.
I played it at the Astoria.
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 The Sonics. All the underground hits.
All Average White Band tracks. I heard you have a vinyl of every Röyhkä ja Rättö ja Lehtisalo 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 '90s.
I hear you're buying a linndrum and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Max Romeo record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jesper Dahlbäck,
Radiopuhelimet,
Crispy Ambulance,
Make Up,
Wally Richardson,
The Velvet Underground,
Teenage Jesus and the Jerks,
Robert Hood,
Max Romeo,
Cymande,
These Immortal Souls,
Avey Tare & Kría Brekkan,
Dual Sessions,
Yellowson,
Magma,
The Tremeloes,
Angry Samoans,
Jeru the Damaja,
The Saints,
Royal Trux,
Dorothy Ashby,
Lou Reed & John Cale,
Siouxsie and the Banshees,
Johnny Osbourne,
Au Pairs,
Surgeon,
Brass Construction,
Pagans,
Pylon,
Amon Düül II,
Urselle,
Model 500,
Justin Hinds & The Dominoes,
David McCallum,
Hasil Adkins,
The Mummies,
La Düsseldorf,
Todd Terry,
Harmonia,
Frankie Knuckles,
Groovy Waters,
Hoover,
Notorious Big And Bone Thugs,
Cybotron,
The Happenings,
Faraquet,
Be Bop Deluxe,
JFA,
Sonny Sharrock,
Fluxion,
Country Joe & The Fish,
Alison Limerick,
The Peanut Butter Conspiracy,
Faust,
Soul II Soul,
Main Source,
The Sonics,
Sarah Menescal,
Warren Ellis,
Funkadelic,
Unrelated Segments,
Camouflage, Camouflage, Camouflage, Camouflage.
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.