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 Sierra Leone and from Houston.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Shanghai and Accra.
I'm losing my edge to the art-school London 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the linndrum sounds with much patience.
I was there when Michael McDonald 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 Bootsy Collins to the rap kids.
I played it at the Spitz.
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 Pierre Henry. All the underground hits.
All Brass Construction tracks. I heard you have a vinyl of every Michelle Simonal 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 '70s cut and another box set from the '80s.
I hear you're buying a clarinet and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a John Coltrane 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?
Roy Ayers Ubiquity,
Glenn Branca,
Minny Pops,
Orchestral Manoeuvres in the Dark,
Bobby Byrd,
Ice-T,
Pharoah Sanders,
The Neon Judgement,
Lindisfarne,
DJ Style,
Black Sheep,
Absolute Body Control,
Kurtis Blow,
Strawberry Alarm Clock,
Index,
Nation of Ulysses,
Lebanon Hanover,
Henry Cow,
Lou Christie,
The Skatalites,
MC5,
Goldenarms,
Bootsy's Rubber Band,
Fugazi,
Animal Collective,
Chris Corsano,
Ossler,
Avey Tare's Slasher Flicks,
Shuggie Otis,
Pharaoh Sanders and the Fire Engines,
Bobby Womack,
Matthew Halsall,
Cluster,
Gang Starr,
The Smoke,
ABC,
The Peanut Butter Conspiracy,
The Dead C,
Letta Mbulu,
Can,
Junior Murvin,
Guru Guru,
Pagans,
Roger Hodgson,
The Kinks,
Barbara Tucker,
One Last Wish,
Quando Quango,
Bootsy Collins,
The Move,
The Seeds,
Barclay James Harvest,
Eddi Front,
Heaven 17,
Sight & Sound,
Smog,
Vladislav Delay,
Sticky Fingaz feat. Raekwon,
Hardrive,
Barrington Levy,
The Beau Brummels, The Beau Brummels, The Beau Brummels, The Beau Brummels.
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.