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 Korea South and from Mumbai.
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 1978.
I'm losing my edge.
To all the kids in Mumbai and Bremen.
I'm losing my edge to the art-school Jakarta 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 1978 at the first Visage practice in a loft in London.
I was working on the linndrum sounds with much patience.
I was there when Holger Czukay 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 Byron Stingily to the jazz 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 Crash Course in Science. All the underground hits.
All Ituana tracks. I heard you have a vinyl of every The Angels of Light 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 '80s.
I hear you're buying a guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Flesh Eaters record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Archie Shepp,
Johnny Clarke,
Barclay James Harvest,
The Neon Judgement,
Donald Byrd,
Rod Modell,
Eyeless In Gaza,
Subhumans,
Sun City Girls,
The Fortunes,
Bill Near,
Jacob Miller,
Organ,
Zapp,
Morten Harket,
Glambeats Corp.,
Spoonie Gee,
Ronnie Foster,
Wire,
Spandau Ballet,
Joensuu 1685,
Harpers Bizarre,
Sly & The Family Stone,
Red Lorry Yellow Lorry,
Vaughan Mason & Crew,
FM Einheit,
The Evens,
Quando Quango,
Ohio Players,
Trumans Water,
Marmalade,
Heavy D & The Boyz,
The Gories,
Con Funk Shun,
The Invisible,
Fatback Band,
Country Joe & The Fish,
Crime,
The Slackers,
Lou Christie,
Justin Hinds & The Dominoes,
Scion,
Rosa Yemen,
Scratch Acid,
Nirvana,
Little Man,
Amon Düül II,
the Germs,
The Residents,
The Fire Engines,
T.S.O.L.,
the Soft Cell,
Junior Murvin,
Derrick May,
Simply Red,
Erykah Badu,
Black Moon,
Malaria!,
Jerry's Kids,
Motorama,
Ice-T,
ABBA, ABBA, ABBA, ABBA.
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.