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 Switzerland and from Tehran.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Houston and Columbus.
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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the rhodes 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 Gabor Szabo to the jazz kids.
I played it at Trash.
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 Nils Olav. All the underground hits.
All Bad Manners tracks. I heard you have a vinyl of every Lindisfarne 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 '80s cut and another box set from the '70s.
I hear you're buying a sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Byron Stingily record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ituana,
Jimmy McGriff,
Electric Light Orchestra,
Sandy B,
Bush Tetras,
Organ,
The Cowsills,
The Wake,
Hot Snakes,
Amazonics,
Throbbing Gristle,
James White and The Blacks,
Underground Resistance,
Gian Franco Pienzio,
Nas,
Johnny Osbourne,
Q and Not U,
Little Man,
Gerry Rafferty,
Kool G Rap & DJ Polo,
B.T. Express,
Jandek,
Oblivians,
Blake Baxter,
Amon Düül II,
Gastr Del Sol,
Deepchord,
Fela Kuti,
Don Cherry,
Neil Young,
Yellowson,
T.S.O.L.,
Royal Trux,
Beasts of Bourbon,
Duran Duran,
Das Ding,
Lizzy Mercier Descloux,
Angels of Light & Akron/Family,
Kerrie Biddell,
Justin Hinds & The Dominoes,
Delta 5,
Scientists,
Absolute Body Control,
Byron Stingily,
The Count Five,
Matthew Bourne,
Sonny Sharrock,
Strawberry Alarm Clock,
Morten Harket,
Cabaret Voltaire,
Eli Mardock,
Ultimate Spinach,
Mr. Review,
Leonard Cohen,
Michelle Simonal,
Nick Cave & The Bad Seeds,
Dark Day,
Delon & Dalcan,
The Litter,
June Days,
Bob Dylan,
Hardrive,
The Neon Judgement, The Neon Judgement, The Neon Judgement, The Neon Judgement.
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.