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 Finland and from Mumbai.
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 1973.
I'm losing my edge.
To all the kids in Portland and Salvador.
I'm losing my edge to the art-school Bologna 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 Robert Palmer 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 Johnny Osbourne to the dance kids.
I played it at the Hacienda.
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 Underground Resistance. All the underground hits.
All Scratch Acid tracks. I heard you have a vinyl of every Robert Wyatt record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash record.
I hear that you and your band have sold your rhodes and bought a theremin.
I hear that you and your band have sold your theremin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kevin Saunderson,
Bizarre Inc.,
Gil Scott Heron,
Idris Muhammad,
Pantaleimon,
Black Flag,
Roger Hodgson,
Althea and Donna,
Parry Music,
Negative Approach,
Freddie Wadling,
Isaac Hayes,
Eric B and Rakim,
Charles Mingus,
Young Marble Giants,
Pulsallama,
Sun Ra,
Scott Walker,
Loose Ends,
Ossler,
Crash Course in Science,
H. Thieme,
Pere Ubu,
The Dead C,
Mad Mike,
Lindisfarne,
Barry Ungar,
Henry Cow,
Jandek,
Alison Limerick,
Rekid,
Jacob Miller,
Television Personalities,
Agent Orange,
The Royal Family And The Poor,
John Coltrane,
Dead Boys,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Skarface,
Zero Boys,
Clear Light,
Nas,
Khruangbin,
Theoretical Girls,
Toni Rubio,
Red Lorry Yellow Lorry,
London Community Gospel Choir,
Gian Franco Pienzio,
10cc,
Model 500,
X-102,
Dorothy Ashby,
The Doors,
Rotary Connection,
Quadrant,
Bluetip,
Kool Moe Dee,
the Normal,
The Vogues,
The Searchers,
Arab on Radar,
Aural Exciters,
The Standells, The Standells, The Standells, The Standells.
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.