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 Dominica and from Bologna.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Philadelphia and Glasgow.
I'm losing my edge to the art-school Mumbai 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 marimba sounds with much patience.
I was there when David Bowie 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 Howard Jones to the jazz kids.
I played it at Trash.
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 Graham Central Station. All the underground hits.
All John Cale tracks. I heard you have a vinyl of every The Zeros record on German import.
I heard that you have a white label of every seminal dance 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 an organ and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Maurizio record.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mandrill,
DeepChord presents Echospace,
K-Klass,
Blake Baxter,
Cecil Taylor,
The Sound,
June Days,
Young Marble Giants,
The Jesus and Mary Chain,
Infiniti,
Junior Murvin,
Agent Orange,
Big Daddy Kane,
Eric Copeland,
Red Lorry Yellow Lorry,
Mark Hollis,
The Alarm Clocks,
The Offenders,
Gichy Dan,
Half Japanese,
Althea and Donna,
UT,
The Sonics,
Fad Gadget,
Darondo,
Skarface,
A Flock of Seagulls,
Peter & Gordon,
Lyres,
Cameo,
Carl Craig,
Interpol,
Strawberry Alarm Clock,
X-Ray Spex,
The Fortunes,
Connie Case,
Barclay James Harvest,
Oppenheimer Analysis,
Soft Cell,
Q65,
Amon Düül,
Wally Richardson,
Rakim,
Rites of Spring,
Whodini,
Alison Limerick,
June of 44,
The Star Department,
Icehouse,
One Last Wish,
Essential Logic,
This Heat,
Boredoms,
Byron Stingily,
Sun Ra,
Sonny Sharrock,
The Knickerbockers,
The Techniques,
The Human League,
The Martian, The Martian, The Martian, The Martian.
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.