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 Nigeria and from Paris.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Lyon and Bologna.
I'm losing my edge to the art-school Milan 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 1976 at the first Wire practice in a loft in Watford.
I was working on the mellotron sounds with much patience.
I was there when Captain Beefheart 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 Lou Christie to the funk 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 Barrington Levy. All the underground hits.
All Wings tracks. I heard you have a vinyl of every Joe Smooth 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 '70s cut and another box set from the '80s.
I hear you're buying an organ and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a David Axelrod record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gong,
Gil Scott-Heron and Jamie xx,
Kaleidoscope,
Marvin Gaye,
The Knickerbockers,
Clear Light,
Justin Hinds & The Dominoes,
48th St. Collective,
The Real Kids,
A Certain Ratio,
Jeff Mills,
Hot Snakes,
Mo-Dettes,
ABC,
Section 25,
Lower 48,
Roxy Music,
Young Marble Giants,
Warsaw,
Skriet,
The Pop Group,
Bang on a Can All-Stars,
Jerry Gold Smith,
Hasil Adkins,
Strawberry Alarm Clock,
Terry Callier,
Scratch Acid,
The Standells,
The Sisters of Mercy,
The Blues Magoos,
Fear,
H. Thieme,
Saccharine Trust,
Bootsy Collins,
Traffic Nightmare,
Eric Copeland,
Surgeon,
a-ha,
Excepter,
Ohio Players,
Stereo Dub,
Don Cherry,
World's Most,
Judy Mowatt,
The Moleskins,
Liaisons Dangereuses,
In Retrospect,
Lonnie Liston Smith,
De La Soul & Jungle Brothers,
Prince Buster,
The Vogues,
Soulsonic Force,
Peter & Gordon,
the Association,
The Golliwogs,
Derrick Morgan,
UT,
The Last Poets,
Malaria!,
The Kinks,
The Doobie Brothers,
Japan,
Lucky Dragons, Lucky Dragons, Lucky Dragons, Lucky Dragons.
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.