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 Djibouti and from Tokyo.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Houston and Salvador.
I'm losing my edge to the art-school Glasgow 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the mellotron sounds with much patience.
I was there when David Bowie 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 Jerry's Kids 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 Jacob Miller. All the underground hits.
All Matthew Halsall tracks. I heard you have a vinyl of every Flipper record on German import.
I heard that you have a white label of every seminal electroclash 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 808 and are throwing your macbook out the window because you want to make something real. You want to make a Be Bop Deluxe record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kurtis Blow,
The Angels of Light,
Newcleus,
Groovy Waters,
The Fuzztones,
Curtis Mayfield,
Babytalk,
June of 44,
Liaisons Dangereuses,
Crime,
Anthony Braxton,
Dave Gahan,
Gil Scott-Heron & Brian Jackson,
Peter Gordon & Love of Life Orchestra,
Reagan Youth,
Massinfluence,
John Lydon,
Tubeway Army,
Morten Harket,
Neu!,
Byron Stingily,
Crispian St. Peters,
Bad Manners,
Khruangbin,
Man Parrish,
Arcadia,
Barry Ungar,
Monolake,
Scan 7,
Tropical Tobacco,
Mars,
Kayak,
D'Angelo,
Flash Fearless,
Ken Boothe,
Charles Mingus,
Howard Jones,
cv313,
The Smiths,
Sad Lovers and Giants,
Deutsch Amerikanische Freundschaft,
Wings,
Amon Düül,
Robert Hood,
Archie Shepp,
Boogie Down Productions,
One Last Wish,
Scratch Acid,
Barbara Tucker,
Peter and Kerry,
Fat Boys,
Stiv Bators,
The Cowsills,
Marc Almond,
the Sonics,
Quadrant,
Marmalade,
Ornette Coleman,
Fela Kuti,
Terrestrial Tones,
John Holt, John Holt, John Holt, John Holt.
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.