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 Nigeria and from Tokyo.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Taipei and Philadelphia.
I'm losing my edge to the art-school Woodstock 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 Lou Reed 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 London Community Gospel Choir to the electroclash 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 Basic Channel. All the underground hits.
All The Selecter tracks. I heard you have a vinyl of every Eurythmics record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a rhodes and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Easy Going record.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Q and Not U,
Spandau Ballet,
Terrestrial Tones,
Bang On A Can,
Laurel Aitken,
Moby Grape,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Byron Stingily,
Soulsonic Force,
Robert Hood,
The Gun Club,
John Holt,
Crispian St. Peters,
Orchestral Manoeuvres in the Dark,
Super Lover Cee & Casanova Rud,
Half Japanese,
The Moleskins,
The Smiths,
Lungfish,
Simply Red,
Jesper Dahlback,
Swans,
Hasil Adkins,
OOIOO,
Danielle Patucci,
Boz Scaggs,
Isaac Hayes,
Fatback Band,
Metal Thangz,
Pagans,
Pierre Henry,
Echospace,
Jimmy McGriff,
The Star Department,
Pharaoh Sanders and the Fire Engines,
The Associates,
Wally Richardson,
Oblivians,
Gang Gang Dance,
Duran Duran,
Masters at Work,
Lebanon Hanover,
Sun Ra Arkestra,
Shoche,
Fort Wilson Riot,
The Count Five,
The West Coast Pop Art Experimental Band,
Matthew Bourne,
Black Pus,
The Black Dice,
Electric Prunes,
Sarah Menescal,
Magazine,
The Pop Group,
Selector Dub Narcotic,
The Red Krayola,
Ice-T,
Captain Beefheart & His Magic Band,
Hashim,
Bobbi Humphrey,
The Doors,
Davy DMX, Davy DMX, Davy DMX, Davy DMX.
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.