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 Kyrgyzstan and from Seoul.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Manchester and Woodstock.
I'm losing my edge to the art-school Madrid 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 snare 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 John Lydon to the dance kids.
I played it at the Troubador.
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 Television. All the underground hits.
All Nas tracks. I heard you have a vinyl of every Ossler 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 '80s cut and another box set from the '80s.
I hear you're buying a 808 and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Heavy D & The Boyz record.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fuzztones,
Gian Franco Pienzio,
Pharoah Sanders,
Excepter,
Subhumans,
Laurel Aitken,
Cecil Taylor,
Charles Mingus,
Saccharine Trust,
Pierre Henry,
Amon Düül,
Smog,
Quantec,
Oppenheimer Analysis,
cv313,
Rufus Thomas,
Slave,
The Tremeloes,
the Fania All-Stars,
Wolf Eyes,
Sällskapet,
the Association,
Hasil Adkins,
John Cale,
Harry Pussy,
Lakeside,
The Monochrome Set,
Captain Beefheart & His Magic Band,
FM Einheit,
Eddi Front,
Alison Limerick,
The Gladiators,
The Index,
Juan Atkins,
The Fugs,
Sister Nancy,
Arthur Verocai,
Man Parrish,
Piero Umiliani,
Lalo Schifrin,
Rekid,
Radio Birdman,
Oneida,
Sight & Sound,
Magazine,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Deepchord,
Lee Hazlewood,
A Flock of Seagulls,
The Doobie Brothers,
Joensuu 1685,
Kayak,
Crime,
Boogie Down Productions,
Boredoms,
Technova,
Henry Cow,
The Toasters,
Yaz,
Beasts of Bourbon,
Rapeman,
Albert Ayler, Albert Ayler, Albert Ayler, Albert Ayler.
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.