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 Chile and from New York.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Glasgow and Glasgow.
I'm losing my edge to the art-school Spokane 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 Captain Beefheart 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 James Chance & The Contortions to the techno kids.
I played it at Trash.
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 Music Machine. All the underground hits.
All Delon & Dalcan tracks. I heard you have a vinyl of every The Pretty Things 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 '70s cut and another box set from the '80s.
I hear you're buying a snare and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a CMW record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
One Last Wish,
Ludus,
The Kinks,
Peter Gordon & Love of Life Orchestra,
DNA,
Amon Düül II,
Scratch Acid,
Bobby Sherman,
The Chocolate Watch Band,
Arab on Radar,
The Shadows of Knight,
Oblivians,
Gian Franco Pienzio,
Yazoo,
Pharaoh Sanders and the Fire Engines,
Sixth Finger,
Stereo Dub,
Jerry Gold Smith,
John Holt,
Eric Copeland,
Isaac Hayes,
Marshall Jefferson,
Mandrill,
The Cowsills,
The Trojans,
Art Ensemble Of Chicago,
Harmonia,
Maurizio,
Au Pairs,
The Saints,
Y Pants,
Funkadelic,
Visage,
Gil Scott-Heron & Brian Jackson,
Neil Young,
Gerry Rafferty,
Radiopuhelimet,
CMW,
Al Stewart,
Half Japanese,
Minor Threat,
Fela Kuti,
Sad Lovers and Giants,
The Leaves,
Smog,
Andrew Ashong & Theo Parrish,
Laurel Aitken,
Lou Reed,
Maleditus Sound,
Rekid,
Scion,
The Mighty Diamonds,
Johnny Osbourne,
Section 25,
Altered Images,
Loose Ends,
Cabaret Voltaire,
Strawberry Alarm Clock,
Donny Hathaway,
Sonny Sharrock,
Robert Wyatt, Robert Wyatt, Robert Wyatt, Robert Wyatt.
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.