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 Honduras and from Milan.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1975.
I'm losing my edge.
To all the kids in Tokyo and Lyon.
I'm losing my edge to the art-school Halifax 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 organ 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 Harpers Bizarre to the jazz 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 X-Ray Spex. All the underground hits.
All Funkadelic tracks. I heard you have a vinyl of every Aloha Tigers record on German import.
I heard that you have a white label of every seminal grime 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 mellotron and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Kurtis Blow record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Marine Girls,
Audionom,
Bush Tetras,
U.S. Maple,
The Last Poets,
Mission of Burma,
Grey Daturas,
Lou Reed,
Jeru the Damaja,
Notorious BIG live in Amsterdam,
Maleditus Sound,
Faraquet,
The Evens,
F. McDonald,
Bluetip,
The Mummies,
John Cale,
Toni Rubio,
AZ,
Liliput,
Tubeway Army,
Gian Franco Pienzio,
The Fuzztones,
Black Bananas,
Main Source,
a-ha,
Girls At Our Best!,
X-101,
The Monks,
Metal Thangz,
Siouxsie and the Banshees,
The Doors,
Minutemen,
Unrelated Segments,
Sad Lovers and Giants,
PIL,
The Stooges,
The Move,
Big Daddy Kane,
Charles Mingus,
Chrome,
Echo & the Bunnymen,
10cc,
Wally Richardson,
D'Angelo,
Gil Scott Heron,
Richard Hell and the Voidoids,
DNA,
Ash Ra Tempel,
Public Enemy,
The Young Rascals,
Tears for Fears,
Deadbeat,
Section 25,
Sugar Minott,
The Fugs,
Man Eating Sloth,
Index, Index, Index, Index.
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.