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 Norway and from Salvador.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1967 to 1975.
I'm losing my edge.
To all the kids in Jakarta and Sao Paulo.
I'm losing my edge to the art-school Jakarta 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 mellotron 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 Major Organ And The Adding Machine to the funk kids.
I played it at the 40 Watt.
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 Robert Hood. All the underground hits.
All Nick Cave & The Bad Seeds tracks. I heard you have a vinyl of every Mark Hollis record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a marimba and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Joey Negro record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barry Ungar,
Flipper,
Essential Logic,
R.M.O.,
Grandmaster Flash and the Furious Five,
Brand Nubian,
Mo-Dettes,
Qualms,
48th St. Collective,
Jesper Dahlback,
Stiv Bators,
Deakin,
Notorious BIG live in Amsterdam,
Bad Manners,
Can,
The Happenings,
Cluster,
Kerrie Biddell,
Wasted Youth,
Thompson Twins,
Gang Starr,
Nick Cave & The Bad Seeds,
Lebanon Hanover,
Joe Smooth,
Siglo XX,
Aaron Thompson,
Sällskapet,
Absolute Body Control,
Swell Maps,
The Human League,
Bobby Byrd,
Nick Fraelich,
Junior Murvin,
Subhumans,
Sugar Minott,
Cybotron,
The American Breed,
The Grass Roots,
Minor Threat,
Gregory Isaacs,
Harpers Bizarre,
Lafayette Afro Rock Band,
Al Stewart,
Faraquet,
Radiohead,
Interpol,
Altered Images,
CMW,
Young Marble Giants,
Zero Boys,
Brass Construction,
kango's stein massive,
David McCallum,
Shuggie Otis,
Patti Smith,
Louis and Bebe Barron,
Sunsets and Hearts,
Youth Brigade,
Masters at Work,
Supertramp,
Eden Ahbez,
Grey Daturas, Grey Daturas, Grey Daturas, Grey Daturas.
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.