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 Guyana and from Accra.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Salvador and Manchester.
I'm losing my edge to the art-school Bologna 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the harpsichord 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 Dorothy Ashby 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 Soul Sonic Force. All the underground hits.
All the Slits tracks. I heard you have a vinyl of every the Soft Cell 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 '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a EPMD record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kas Product,
Zapp,
The Monochrome Set,
Gong,
Lou Christie,
Mad Mike,
Joe Smooth,
Grandmaster Flash and the Furious Five,
Moss Icon,
In Retrospect,
Roxy Music,
Television,
June of 44,
Soft Cell,
Warsaw,
Country Teasers,
Charles Mingus,
The Vogues,
Andrew Ashong & Theo Parrish,
The Litter,
Brand Nubian,
Gerry Rafferty,
Rotary Connection,
Oneida,
Gian Franco Pienzio,
Model 500,
Boz Scaggs,
Jacques Brel,
Barbara Tucker,
The Fortunes,
Don Cherry,
Manfred Mann's Earth Band,
Cal Tjader,
Johnny Osbourne,
Bobby Byrd,
Laurel Aitken,
Fatback Band,
Ornette Coleman,
Terror Squad Feat. Camron,
Strawberry Alarm Clock,
Procol Harum,
KRS-One,
A Flock of Seagulls,
The Standells,
Cybotron,
Ken Boothe,
Crime,
The Moody Blues,
The Residents,
Von Mondo,
Stetsasonic,
The Birthday Party,
Crispy Ambulance,
Infiniti,
Pussy Galore,
Drive Like Jehu,
Delta 5,
James Chance & The Contortions,
The Sonics,
The Buckinghams, The Buckinghams, The Buckinghams, The Buckinghams.
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.