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 Angola and from Portland.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Portland and Hong Kong.
I'm losing my edge to the art-school Calgary 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 sitar sounds with much patience.
I was there when Michael McDonald 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 The Mighty Diamonds 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 Agent Orange. All the underground hits.
All It's A Beautiful Day tracks. I heard you have a vinyl of every Fad Gadget record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a sitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a La Düsseldorf record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Flesh Eaters,
the Sonics,
Kings Of Tomorrow,
Glambeats Corp.,
Rhythm & Sound,
Jawbox,
Cymande,
Joensuu 1685,
The Busters,
Swans,
Matthew Halsall,
Gil Scott-Heron and Jamie xx,
Gabor Szabo,
Teenage Jesus and the Jerks,
KRS-One,
Minny Pops,
Public Image Ltd.,
Johnny Clarke,
Angry Samoans,
Tom Boy,
cv313,
New Order,
The Toasters,
Pharaoh Sanders and the Fire Engines,
Kerrie Biddell,
The Gun Club,
Bill Near,
Barclay James Harvest,
L. Decosne,
Big Daddy Kane,
Throbbing Gristle,
John Lydon,
Metal Thangz,
Soulsonic Force,
China Crisis,
Bauhaus,
Average White Band,
the Normal,
Fat Boys,
Spoonie Gee,
Sixth Finger,
Sam Rivers,
The Doobie Brothers,
Fugazi,
The Pop Group,
Bronski Beat,
Bobbi Humphrey,
Warsaw,
Sandy B,
Tim Buckley,
Rakim,
Jeff Mills,
Slick Rick,
Nick Cave & The Bad Seeds,
Wolf Eyes,
Barry Ungar,
Peter & Gordon,
MDC,
Jerry's Kids,
Henry Cow,
Robert Hood,
Red Lorry Yellow Lorry, Red Lorry Yellow Lorry, Red Lorry Yellow Lorry, Red Lorry Yellow Lorry.
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.