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 Estonia and from Accra.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Lyon and Portland.
I'm losing my edge to the art-school Edmonton 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 theremin 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 Section 25 to the jazz 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 Marshall Jefferson. All the underground hits.
All Tim Buckley tracks. I heard you have a vinyl of every Scratch Acid record on German import.
I heard that you have a white label of every seminal rap 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 oboe and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash and the Furious Five record.
I hear that you and your band have sold your mellotron and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Barracudas,
Rapeman,
Whodini,
Bauhaus,
Ituana,
Bootsy's Rubber Band,
Iggy Pop,
Don Cherry,
Negative Approach,
Crash Course in Science,
Amazonics,
The Fugs,
Glenn Branca,
Sixth Finger,
Big Daddy Kane,
Oneida,
Pete Rock & C.L. Smooth,
Brick,
Kayak,
Supertramp,
The Kinks,
Juan Atkins,
Larry & the Blue Notes,
The Skatalites,
The Index,
Alphaville,
Scrapy,
Erykah Badu,
Underground Resistance,
Jesper Dahlback,
Unrelated Segments,
Das Ding,
Japan,
June Days,
Surgeon,
Mad Mike,
Rahsaan Roland Kirk,
Audionom,
Bad Manners,
8 Eyed Spy,
Grandmaster Flash,
Aural Exciters,
The Victims,
Cameo,
Skarface,
New York Dolls,
Fifty Foot Hose,
Camron Feat. Memphis Bleek And Beenie Seigel,
Marine Girls,
Ponytail,
The Alarm Clocks,
Adolescents,
Bob Dylan,
Faraquet,
Donny Hathaway,
Au Pairs,
Tim Buckley,
Letta Mbulu,
Half Japanese,
Pantytec,
The Smoke,
Bush Tetras,
Suburban Knight, Suburban Knight, Suburban Knight, Suburban Knight.
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.