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 Kazakhstan and from Houston.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Madrid and Tehran.
I'm losing my edge to the art-school Paris 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 linndrum 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 Captain Beefheart & His Magic Band to the techno kids.
I played it at the 40 Watt.
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 Idris Muhammad. All the underground hits.
All Traffic Nightmare tracks. I heard you have a vinyl of every The Five Americans 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 '70s.
I hear you're buying a rhodes and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Henry Cow record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter Gordon & Love of Life Orchestra,
The Fuzztones,
Kool Moe Dee,
Lee Hazlewood,
Lindisfarne,
Cabaret Voltaire,
Jeff Lynne,
T. Rex,
Dead Boys,
The Gladiators,
New Age Steppers,
Bronski Beat,
Grandmaster Flash,
Sun Ra Arkestra,
The Moleskins,
Blossom Toes,
Liliput,
Nick Cave & The Bad Seeds,
Subhumans,
Gabor Szabo,
The Evens,
Marvin Gaye,
Masters at Work,
Howard Jones,
Derrick May,
Sunsets and Hearts,
Pantytec,
Major Organ And The Adding Machine,
Amazonics,
Louis and Bebe Barron,
Wings,
Lou Christie,
Pole,
James White and The Blacks,
Mark Hollis,
Altered Images,
Public Image Ltd.,
Barrington Levy,
The Dead C,
The Gories,
Oblivians,
Gang Starr,
Lonnie Liston Smith,
The Techniques,
Gang Green,
Main Source,
DNA,
Eve St. Jones,
Underground Resistance,
The Doobie Brothers,
The Velvet Underground,
Television Personalities,
June of 44,
Aswad,
Davy DMX,
The Sound,
Minnie Riperton,
Avey Tare & Kría Brekkan,
Michelle Simonal,
Deadbeat,
Terry Callier, Terry Callier, Terry Callier, Terry Callier.
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.