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 Mauritius and from Paris.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Taipei and Edmonton.
I'm losing my edge to the art-school Milan 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the mellotron 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 Visage to the jazz 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 Barrington Levy. All the underground hits.
All Marshall Jefferson tracks. I heard you have a vinyl of every Rotary Connection record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a clarinet and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Fortunes record.
I hear that you and your band have sold your clarinet and bought a marimba.
I hear that you and your band have sold your marimba and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Girls At Our Best!,
Schoolly D,
John Foxx,
The Selecter,
Peter & Gordon,
Theoretical Girls,
Susan Cadogan,
Popol Vuh,
Ronnie Foster,
Barbara Tucker,
Tomorrow,
Bronski Beat,
Oppenheimer Analysis,
The Dead C,
Drive Like Jehu,
Supertramp,
Bobbi Humphrey,
The Royal Family And The Poor,
John Holt,
Albert Ayler,
the Soft Cell,
Eric B and Rakim,
Goldenarms,
The Velvet Underground,
Rod Modell,
The Fuzztones,
Surgeon,
This Heat,
The Skatalites,
the Bar-Kays,
Bill Near,
Eddi Front,
Oblivians,
the Fania All-Stars,
Jesper Dahlbäck,
Rhythm & Sound,
Jeff Lynne,
Niagra,
The Dave Clark Five,
Harpers Bizarre,
Ituana,
Audionom,
Sixth Finger,
Organ,
Delon & Dalcan,
F. McDonald,
A Flock of Seagulls,
Echospace,
Quantec,
Isaac Hayes,
Moss Icon,
Ajijia Myrayebe,
The Index,
Clear Light,
Robert Wyatt,
The Happenings,
The Smoke,
Brand Nubian,
Andrew Hill,
Animal Collective,
Grandmaster Flash and the Furious Five,
Wighnomy Brothers & Robag Wruhme,
Kango’s Stein Massive,
The Techniques, The Techniques, The Techniques, The Techniques.
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.