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 United States and from Salvador.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Salvador and Accra.
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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the mellotron sounds with much patience.
I was there when Donald Fagen 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 Byron Stingily to the techno kids.
I played it at the Troubador.
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 the Normal. All the underground hits.
All Minutemen tracks. I heard you have a vinyl of every Kaleidoscope record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Section 25 record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ken Boothe,
Interpol,
Cheater Slicks,
David McCallum,
Organ,
Magma,
The J.B.'s,
Oppenheimer Analysis,
Rhythim Is Rhythim,
Brass Construction,
Icehouse,
Sight & Sound,
Kauko Röyhkä ja Narttu,
B.T. Express,
Alison Limerick,
Urselle,
Fort Wilson Riot,
The Victims,
Colin Newman,
Sex Pistols,
Brothers Johnson,
Kevin Saunderson,
Black Bananas,
Echospace,
Lebanon Hanover,
The Motions,
Fifty Foot Hose,
Lindisfarne,
Soul Sonic Force,
Jawbox,
Bauhaus,
The Remains,
DJ Style,
Ronan,
LL Cool J,
The Real Kids,
Pole,
Massinfluence,
Camron Feat. Jay Z And Juelz,
Q and Not U,
Dave Gahan,
A Flock of Seagulls,
Unrelated Segments,
Monks,
the Association,
Frankie Knuckles,
Jacques Brel,
Rufus Thomas,
Faust,
Metal Thangz,
Radiopuhelimet,
Infiniti,
Hasil Adkins,
Sun Ra Arkestra,
The Grass Roots,
kango's stein massive,
Delta 5,
Gary Puckett & The Union Gap,
Nick Fraelich,
Electric Prunes,
Marc Almond,
Nico, Nico, Nico, Nico.
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.