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 Switzerland and from Mexico City.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Tehran and Salvador.
I'm losing my edge to the art-school Lagos 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the spring reverb 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 Skarface to the crunk kids.
I played it at Cafe Wha.
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 Terrestrial Tones. All the underground hits.
All Nas tracks. I heard you have a vinyl of every London Community Gospel Choir record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Nils Olav record.
I hear that you and your band have sold your marimba and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Shoche,
Cybotron,
Godley & Creme,
R.M.O.,
Infiniti,
Little Man,
The Invisible,
Fear,
Andrew Ashong & Theo Parrish,
De La Soul & Jungle Brothers,
Goldenarms,
The United States of America,
Symarip,
Bootsy Collins,
the Human League,
Siglo XX,
Mr. Review,
Eric Dolphy,
Urselle,
Sound Behaviour,
L. Decosne,
Newcleus,
Drive Like Jehu,
Rhythm & Sound,
Section 25,
The Velvet Underground,
Lizzy Mercier Descloux,
Graham Central Station,
Todd Rundgren,
Interpol,
Masters at Work,
Lebanon Hanover,
Radio Birdman,
The Wake,
Pharaoh Sanders and the Fire Engines,
Matthew Bourne,
Terror Squad Feat. Camron,
Al Stewart,
Josef K,
Make Up,
Connie Case,
Average White Band,
Manfred Mann's Earth Band,
Danielle Patucci,
Radiopuhelimet,
Metal Thangz,
Pierre Henry,
Jeff Mills,
Robert Wyatt,
Traffic Nightmare,
Oppenheimer Analysis,
Eddi Front,
The American Breed,
Bang On A Can,
Big Daddy Kane,
Roy Ayers Ubiquity,
The Royal Family And The Poor,
Yusef Lateef,
Teenage Jesus and the Jerks,
The Move,
The Trojans, The Trojans, The Trojans, The Trojans.
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.