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 Sierra Leone and from Sao Paulo.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Paris and Lille.
I'm losing my edge to the art-school Accra 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 808 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 Fela Kuti to the grime 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 Joy Division. All the underground hits.
All Newcleus tracks. I heard you have a vinyl of every The Names 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 '80s cut and another box set from the '70s.
I hear you're buying a mellotron and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a John Coltrane record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joey Negro,
Rosa Yemen,
Quadrant,
Cal Tjader,
Jacob Miller,
Agent Orange,
Section 25,
Kenny Larkin,
Bill Wells,
The Stooges,
The Fuzztones,
Marc Romboy vs. Booka Shade,
48th St. Collective,
Moby Grape,
Sister Nancy,
Bang On A Can,
Wally Richardson,
Junior Murvin,
Minny Pops,
DJ Sneak,
Crash Course in Science,
Half Japanese,
The Young Rascals,
Kas Product,
The Blues Magoos,
Grandmaster Flash and the Furious Five,
The Cowsills,
Sällskapet,
Soft Cell,
Bang on a Can All-Stars,
The Fortunes,
The Pop Group,
Boredoms,
Audionom,
Echo & the Bunnymen,
Shoche,
Gang Gang Dance,
Black Bananas,
The Red Krayola,
Cybotron,
10cc,
The Invisible,
It's A Beautiful Day,
The Blackbyrds,
Oppenheimer Analysis,
The Slits,
ABC,
The Standells,
Scrapy,
Radiopuhelimet,
Sad Lovers and Giants,
Negative Approach,
The Residents,
Matthew Halsall,
Hashim,
Jesper Dahlback,
The Index,
Gerry Rafferty,
Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson.
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.