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 Papua New Guinea and from Sao Paulo.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Manchester and Lyon.
I'm losing my edge to the art-school Copenhagen 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 güiro sounds with much patience.
I was there when Holger Czukay 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 Moss Icon to the grime kids.
I played it at the Hacienda.
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 Sound Behaviour. All the underground hits.
All The Searchers tracks. I heard you have a vinyl of every Electric Light Orchestra 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 '50s cut and another box set from the '70s.
I hear you're buying a snare and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Pulsallama record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Television,
8 Eyed Spy,
Sam Rivers,
Peter and Kerry,
Audionom,
48th St. Collective,
The Red Krayola,
a-ha,
Byron Stingily,
Sonic Youth,
Teenage Jesus and the Jerks,
Negative Approach,
Severed Heads,
Inner City,
ABC,
Eddi Front,
Supertramp,
Albert Ayler,
The Last Poets,
Gregory Isaacs,
Sarah Menescal,
Hashim,
Jacob Miller,
The Motions,
Dead Boys,
Röyhkä ja Rättö ja Lehtisalo,
Bad Manners,
Pulsallama,
Magma,
Unrelated Segments,
Robert Wyatt,
Babytalk,
Newcleus,
Cluster,
Max Romeo,
Kas Product,
Sun Ra,
Strawberry Alarm Clock,
Girls At Our Best!,
Gian Franco Pienzio,
Crime,
Blossom Toes,
Pete Rock & C.L. Smooth,
Roy Ayers,
Index,
Make Up,
Adolescents,
Todd Rundgren,
Neu!,
Dual Sessions,
Matthew Halsall,
X-Ray Spex,
Aural Exciters,
Junior Murvin,
Eve St. Jones,
Electric Light Orchestra,
U.S. Maple,
Duran Duran,
Rufus Thomas,
The Divine Comedy,
The Star Department,
Tubeway Army,
Masters at Work,
Brand Nubian, Brand Nubian, Brand Nubian, Brand Nubian.
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.