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 Jordan and from Lille.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Tehran and Portland.
I'm losing my edge to the art-school Tokyo 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 rhodes 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 Erykah Badu to the funk kids.
I played it at the Crocodile.
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 Ken Boothe. All the underground hits.
All the Soft Cell tracks. I heard you have a vinyl of every Man Parrish record on German import.
I heard that you have a white label of every seminal crunk 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 chamberlin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Kauko Röyhkä ja Narttu record.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Halsall,
Flash Fearless,
The Moody Blues,
Albert Ayler,
Young Marble Giants,
Skriet,
Kerri Chandler,
Q and Not U,
Thinking Fellers Union Local 282,
Sexual Harrassment,
The Busters,
Gang Gang Dance,
The Durutti Column,
Hot Snakes,
Sun Ra Arkestra,
Drexciya,
Severed Heads,
Mandrill,
The Seeds,
The Fortunes,
Robert Hood,
Skarface,
Lonnie Liston Smith,
The Neon Judgement,
Colin Newman,
Scratch Acid,
Absolute Body Control,
Porter Ricks,
Rakim,
Gabor Szabo,
Lower 48,
Jimmy McGriff,
Fluxion,
Eurythmics,
Agent Orange,
Robert Wyatt,
Oppenheimer Analysis,
Reuben Wilson,
Wasted Youth,
Blancmange,
Gian Franco Pienzio,
Notorious Big And Bone Thugs,
Sad Lovers and Giants,
Scott Walker,
Orchestral Manoeuvres in the Dark,
Warsaw,
Siouxsie and the Banshees,
Davy DMX,
R.M.O.,
Delta 5,
X-101,
Steve Hackett,
Peter & Gordon,
K-Klass,
Basic Channel,
Camron Feat. Memphis Bleek And Beenie Seigel,
Notorious BIG live in Amsterdam,
The Mojo Men,
The Human League,
the Germs,
Drive Like Jehu,
Anakelly, Anakelly, Anakelly, Anakelly.
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.