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 Equatorial Guinea and from Madrid.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Bologna and Hong Kong.
I'm losing my edge to the art-school Manchester 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the synthesizer 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 Junior Murvin 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 The Gun Club. All the underground hits.
All Junior Murvin tracks. I heard you have a vinyl of every Supertramp record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a linndrum and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Pantytec record.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear that you and your band have sold your guitar 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?
Prince Buster,
Bobby Byrd,
Erasure,
ABBA,
Ultimate Spinach,
Gian Franco Pienzio,
Eddi Front,
Lee Hazlewood,
Max Romeo,
Lyres,
Pole,
Wighnomy Brothers & Robag Wruhme,
Niagra,
The Martian,
Bang on a Can All-Stars,
Wally Richardson,
Todd Rundgren,
Lightning Bolt,
Silicon Teens,
Monolake,
Ossler,
Nils Olav,
Albert Ayler,
Byron Stingily,
Rotary Connection,
Pharaoh Sanders and the Fire Engines,
Swans,
Kenny Larkin,
Supertramp,
Juan Atkins,
Nik Kershaw,
Lakeside,
Bootsy's Rubber Band,
Gil Scott Heron,
Saccharine Trust,
Beasts of Bourbon,
Oblivians,
Bobby Hutcherson,
Pharoah Sanders,
Ponytail,
Grandmaster Flash,
Gabor Szabo,
Ultravox,
Sunsets and Hearts,
The Pretty Things,
Carl Craig,
The Electric Prunes,
Joensuu 1685,
Spoonie Gee,
Nico,
Tommy Roe,
Wire,
Sly & The Family Stone,
Reagan Youth,
The Doobie Brothers,
Throbbing Gristle,
Lou Reed & Metallica,
Kerrie Biddell,
Man Eating Sloth,
Idris Muhammad,
Yaz,
Easy Going,
Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago.
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.