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 Mexico and from Spokane.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1970.
I'm losing my edge.
To all the kids in Jakarta and Stockholm.
I'm losing my edge to the art-school Halifax 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 rhodes sounds with much patience.
I was there when Michael McDonald 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 Fatback Band to the techno kids.
I played it at the Spitz.
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 Lebanon Hanover. All the underground hits.
All Groovy Waters tracks. I heard you have a vinyl of every Blake Baxter record on German import.
I heard that you have a white label of every seminal rock 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 sitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a One Last Wish record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kevin Saunderson,
Suicide,
The Invisible,
The Detroit Cobras,
Agitation Free,
Symarip,
Little Man,
Radiohead,
Gerry Rafferty,
R.M.O.,
Radio Birdman,
Pete Rock & C.L. Smooth,
James White and The Blacks,
Marcia Griffiths,
Amon Düül,
Wire,
Henry Cow,
Whodini,
Jawbox,
Dennis Brown,
The Angels of Light,
Major Organ And The Adding Machine,
Marine Girls,
Aaron Thompson,
FM Einheit,
Q and Not U,
The Buckinghams,
Bizarre Inc.,
Faraquet,
Joey Negro,
The Remains,
Gabor Szabo,
The Jesus and Mary Chain,
Outsiders,
Surgeon,
The Doors,
The Sonics,
Robert Wyatt,
Talk Talk,
Sam Rivers,
Neil Young,
Donald Byrd,
Magazine,
Ronnie Foster,
Bang On A Can,
Judy Mowatt,
Siglo XX,
Lafayette Afro Rock Band,
Soul Sonic Force,
Lou Reed,
Selector Dub Narcotic,
DeepChord presents Echospace,
Cabaret Voltaire,
Albert Ayler,
James Chance & The Contortions,
Laurel Aitken,
Nirvana,
Unrelated Segments,
Boogie Down Productions,
Carl Craig,
Vladislav Delay,
Sixth Finger,
Eric Copeland,
Qualms, Qualms, Qualms, Qualms.
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.