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 Senegal and from Lille.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Calgary and Bologna.
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 chamberlin sounds with much patience.
I was there when Nile Rodgers 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 Alison Limerick to the rap kids.
I played it at the Roxy.
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 Massinfluence. All the underground hits.
All Major Organ And The Adding Machine tracks. I heard you have a vinyl of every Nik Kershaw 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 '50s cut and another box set from the '90s.
I hear you're buying a snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Rufus Thomas record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eurythmics,
Gichy Dan,
Camouflage,
Fifty Foot Hose,
Country Joe & The Fish,
The Busters,
Bobby Hutcherson,
Freddie Wadling,
New Age Steppers,
Aswad,
Deepchord,
Kango’s Stein Massive,
Duran Duran,
Amon Düül,
Desert Stars,
The Seeds,
Grandmaster Flash,
Sonny Sharrock,
Mr. Review,
Television,
KRS-One,
Absolute Body Control,
Neu!,
Max Romeo,
Nas,
Funky Four + One,
Section 25,
Eyeless In Gaza,
The Young Rascals,
The Fugs,
Avey Tare,
Warsaw,
Jesper Dahlbäck,
the Swans,
Dual Sessions,
Alice Coltrane,
The Birthday Party,
Lizzy Mercier Descloux,
Arcadia,
Bobby Womack,
Blancmange,
The Remains,
Marine Girls,
Notorious Big And Bone Thugs,
Pylon,
Marmalade,
Infiniti,
Dr. Dre and Snoop Doggy Dog,
Ornette Coleman,
Lonnie Liston Smith,
The Smoke,
Derrick May,
June of 44,
The Move,
Sun Ra Arkestra,
the Soft Cell,
Japan,
Bush Tetras,
Q65,
The Gories,
Flipper,
Negative Approach, Negative Approach, Negative Approach, Negative Approach.
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.