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 Luxembourg and from Houston.
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 1971.
I'm losing my edge.
To all the kids in New York and Woodstock.
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 Buzzcocks practice in a loft in Bolton.
I was working on the harpsichord 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 Nas to the rock 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 K-Klass. All the underground hits.
All Curtis Mayfield tracks. I heard you have a vinyl of every Oneida record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Pere Ubu record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Invisible,
The American Breed,
Mark Hollis,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Lafayette Afro Rock Band,
T.S.O.L.,
Gerry Rafferty,
Piero Umiliani,
Steve Hackett,
Glenn Branca,
Blake Baxter,
Adolescents,
Colin Newman,
The Mummies,
Scan 7,
Bluetip,
The Alarm Clocks,
Parry Music,
Be Bop Deluxe,
Sixth Finger,
Moss Icon,
Lonnie Liston Smith,
Wolf Eyes,
The Leaves,
Harmonia,
Mandrill,
Soulsonic Force,
The Neon Judgement,
The Gladiators,
The Fortunes,
Bronski Beat,
Radio Birdman,
Andrew Hill,
Scrapy,
Tomorrow,
Pharaoh Sanders and the Fire Engines,
Echo & the Bunnymen,
The Music Machine,
Kevin Saunderson,
ABC,
Crash Course in Science,
The Monochrome Set,
Nils Olav,
The Vogues,
Urselle,
Porter Ricks,
Sad Lovers and Giants,
Sunsets and Hearts,
The United States of America,
The Move,
Hot Snakes,
June Days,
The Golliwogs,
Mr. Review,
Vainqueur,
One Last Wish,
Archie Shepp,
Letta Mbulu,
Fad Gadget,
Don Cherry,
DJ Style,
Crooked Eye,
World's Most,
Stockholm Monsters, Stockholm Monsters, Stockholm Monsters, Stockholm Monsters.
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.