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 Israel and from Toronto.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Beijing and Sao Paulo.
I'm losing my edge to the art-school Edmonton 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the marimba 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 Gil Scott Heron to the rock 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 Stetsasonic. All the underground hits.
All Bob Dylan tracks. I heard you have a vinyl of every Eyeless In Gaza record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a sitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a De La Soul & Jungle Brothers record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mo-Dettes,
New Age Steppers,
Sarah Menescal,
Notorious Big And Bone Thugs,
The Alarm Clocks,
Visage,
Kango’s Stein Massive,
Sun City Girls,
The Tremeloes,
Marmalade,
Kevin Saunderson,
The United States of America,
Soulsonic Force,
T. Rex,
Inner City,
Angry Samoans,
Ossler,
The Fire Engines,
Accadde A,
The Music Machine,
The Associates,
Idris Muhammad,
Sparks,
The Trojans,
Chris & Cosey,
Pylon,
The Mummies,
Visionaries,LMNO, T- Love & Iriscience,
Bobby Hutcherson,
Sun Ra,
Robert Wyatt,
Brick,
The Human League,
The Motions,
Jerry Gold Smith,
Deutsch Amerikanische Freundschaft,
DJ Style,
Pere Ubu,
Tropical Tobacco,
The Smiths,
The Fall,
Bang On A Can,
Gang of Four,
The Slackers,
Scan 7,
Desert Stars,
K-Klass,
Bluetip,
Tomorrow,
Liaisons Dangereuses,
Art Ensemble Of Chicago,
The Evens,
H. Thieme,
Simply Red,
Ohio Players,
Fluxion,
Howard Jones,
ABC,
Eli Mardock,
The Red Krayola,
Vaughan Mason & Crew, Vaughan Mason & Crew, Vaughan Mason & Crew, Vaughan Mason & Crew.
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.