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 Honduras and from Lille.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Winnipeg and Beijing.
I'm losing my edge to the art-school Hong Kong 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the guitar sounds with much patience.
I was there when Robert Palmer 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 The Move to the punk 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 Rosa Yemen. All the underground hits.
All The Alarm Clocks tracks. I heard you have a vinyl of every Bootsy's Rubber Band 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 '80s cut and another box set from the '90s.
I hear you're buying a sitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Aloha Tigers record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Neon Judgement,
The Moody Blues,
Neil Young,
The Zeros,
Robert Görl,
The Durutti Column,
Stetsasonic,
Ten City,
Roy Ayers Ubiquity,
Fela Kuti,
Desert Stars,
Morten Harket,
The Fire Engines,
Unrelated Segments,
Rahsaan Roland Kirk,
Sun Ra Arkestra,
Pantytec,
The Men They Couldn't Hang,
Skarface,
Louis and Bebe Barron,
The Last Poets,
Manfred Mann's Earth Band,
Ultimate Spinach,
Major Organ And The Adding Machine,
Grandmaster Flash and the Furious Five,
Mark Hollis,
Glambeats Corp.,
Ornette Coleman,
Jacob Miller,
Maleditus Sound,
Masters at Work,
Oblivians,
The Busters,
Jeru the Damaja,
John Foxx,
The J.B.'s,
Liliput,
FM Einheit,
Outsiders,
Dennis Brown,
Rakim,
David McCallum,
Ice-T,
Audionom,
The Alarm Clocks,
Lou Reed & John Cale,
The Fuzztones,
Justin Hinds & The Dominoes,
The Shadows of Knight,
The Golliwogs,
Lou Reed,
The West Coast Pop Art Experimental Band,
Tears for Fears,
Quando Quango,
Rites of Spring,
Thee Headcoats,
Severed Heads,
Absolute Body Control,
Letta Mbulu,
Qualms,
Skaos,
Moby Grape, Moby Grape, Moby Grape, Moby Grape.
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.