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 Grenada and from Bremen.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Houston and Houston.
I'm losing my edge to the art-school Copenhagen 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 sitar sounds with much patience.
I was there when Michael McDonald 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 Neon Judgement to the disco kids.
I played it at the Hacienda.
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 Stetsasonic. All the underground hits.
All Minny Pops tracks. I heard you have a vinyl of every Y Pants record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joe Smooth,
The Golliwogs,
Erykah Badu,
John Coltrane,
Symarip,
The Music Machine,
The Star Department,
The Evens,
Loose Ends,
Deepchord,
Marvin Gaye,
Altered Images,
Nirvana,
Flipper,
Bootsy Collins,
Cal Tjader,
Gil Scott-Heron and Jamie xx,
Marcia Griffiths,
10cc,
Unwound,
Matthew Halsall,
Schoolly D,
The Real Kids,
Pierre Henry,
Y Pants,
Tomorrow,
Bang On A Can,
The Move,
Warsaw,
Bizarre Inc.,
Curtis Mayfield,
Fela Kuti,
Mission of Burma,
ABC,
Agent Orange,
Danielle Patucci,
Marshall Jefferson,
The Dave Clark Five,
Masters at Work,
Television,
F. McDonald,
Henry Cow,
Eric Copeland,
Procol Harum,
Bob Dylan,
Crooked Eye,
The Five Americans,
Dorothy Ashby,
the Sonics,
Shoche,
Darondo,
Black Moon,
Kool G Rap & DJ Polo,
Boz Scaggs,
Country Teasers,
The Fall,
The Royal Family And The Poor,
Pet Shop Boys,
David McCallum,
Average White Band,
Oppenheimer Analysis,
The Red Krayola, The Red Krayola, The Red Krayola, The Red Krayola.
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.