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 Congo and from Stockholm.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Lille and Salvador.
I'm losing my edge to the art-school Portland 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 1984 at the first Arcadia practice in a loft in London.
I was working on the arpeggiator sounds with much patience.
I was there when Holger Czukay 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 Roy Ayers to the disco 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 Barbara Tucker. All the underground hits.
All Icehouse tracks. I heard you have a vinyl of every The Cramps record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
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 LL Cool J record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cal Tjader,
Sad Lovers and Giants,
Pole,
Spandau Ballet,
Sister Nancy,
Franke,
Tubeway Army,
LL Cool J,
The Dead C,
Ice-T,
Ajijia Myrayebe,
Joe Finger,
Dr. Dre and Snoop Doggy Dog,
Scratch Acid,
Arab on Radar,
Bill Wells,
Girls At Our Best!,
Anthony Braxton,
The Durutti Column,
Bootsy Collins,
Bobby Sherman,
the Bar-Kays,
Deepchord,
David Bowie,
Tres Demented,
Nick Cave & The Bad Seeds,
Delon & Dalcan,
Mad Mike,
Alton Ellis,
Alison Limerick,
The Smiths,
Saccharine Trust,
The Five Americans,
EPMD,
Amon Düül II,
Brass Construction,
The Blues Magoos,
Rufus Thomas,
Chris & Cosey,
Aswad,
World's Most,
The Fuzztones,
KRS-One,
Suicide,
the Human League,
Sällskapet,
Underground Resistance,
AZ,
Faust,
Man Eating Sloth,
Roy Ayers,
The Searchers,
Lizzy Mercier Descloux,
Rakim,
Byron Stingily,
Quantec,
Ken Boothe,
Rekid,
Dual Sessions,
The Seeds, The Seeds, The Seeds, The Seeds.
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.