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 Colombia and from Calgary.
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 1971.
I'm losing my edge.
To all the kids in Salvador and Hong Kong.
I'm losing my edge to the art-school Salvador 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the güiro sounds with much patience.
I was there when Nile Rodgers 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 The Black Dice to the punk kids.
I played it at the Astoria.
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 Parry Music. All the underground hits.
All Half Japanese tracks. I heard you have a vinyl of every Lou Reed record on German import.
I heard that you have a white label of every seminal funk 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 synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Röyhkä ja Rättö ja Lehtisalo record.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cecil Taylor,
Bootsy Collins,
Gian Franco Pienzio,
Bobby Byrd,
Visage,
The Blackbyrds,
Gregory Isaacs,
Hoover,
Big Daddy Kane,
The Doors,
Easy Going,
Junior Murvin,
Outsiders,
Sticky Fingaz feat. Raekwon,
Tomorrow,
Curtis Mayfield,
Max Romeo,
The Blues Magoos,
48th St. Collective,
AZ,
UT,
Spandau Ballet,
Suicide,
the Bar-Kays,
Amazonics,
The Birthday Party,
Negative Approach,
Arab on Radar,
New York Dolls,
Soft Machine,
Television,
Electric Prunes,
Schoolly D,
John Holt,
Con Funk Shun,
Bronski Beat,
Tropical Tobacco,
Spoonie Gee,
Brothers Johnson,
Marine Girls,
The Walker Brothers,
Sällskapet,
Sunsets and Hearts,
Minnie Riperton,
Tommy Roe,
Chris Corsano,
The Wake,
Monolake,
London Community Gospel Choir,
Moebius,
Dave Gahan,
John Cale,
The Gories,
Dennis Brown,
Terror Squad Feat. Camron,
Colin Newman,
The J.B.'s,
The Real Kids,
Robert Wyatt, Robert Wyatt, Robert Wyatt, Robert Wyatt.
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.