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 Colombia and from Johannesburg.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Tehran and Bologna.
I'm losing my edge to the art-school Manchester 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 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 Human League to the rock kids.
I played it at the Spitz.
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 X-102. All the underground hits.
All Nation of Ulysses tracks. I heard you have a vinyl of every Toni Rubio record on German import.
I heard that you have a white label of every seminal techno 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 spring reverb and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Jesus and Mary Chain record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Ashong & Theo Parrish,
Gerry Rafferty,
Urselle,
K-Klass,
Aural Exciters,
New York Dolls,
Susan Cadogan,
Soul II Soul,
Lalann,
Sugar Minott,
Sixth Finger,
Wally Richardson,
Drive Like Jehu,
Art Ensemble Of Chicago,
Severed Heads,
David Bowie,
Gil Scott-Heron and Jamie xx,
Bootsy's Rubber Band,
Circle Jerks,
The Birthday Party,
Ronnie Foster,
The Techniques,
The Mojo Men,
Nas,
Camberwell Now,
Morten Harket,
Duran Duran,
Man Parrish,
Lungfish,
Throbbing Gristle,
Camron Feat. Jay Z And Juelz,
Scion,
Joensuu 1685,
Marcia Griffiths,
Kango’s Stein Massive,
Bluetip,
the Germs,
Symarip,
Harry Pussy,
Graham Central Station,
The Pop Group,
Kerri Chandler,
Oneida,
June Days,
Kas Product,
Sun City Girls,
Zapp,
Anthony Braxton,
Ken Boothe,
David Axelrod,
The Black Dice,
Metal Thangz,
Lizzy Mercier Descloux,
The Doors,
Suburban Knight,
The Saints,
Sound Behaviour,
The Move,
Agent Orange,
Leonard Cohen,
Smog,
Lafayette Afro Rock Band,
Bang On A Can,
London Community Gospel Choir,
Yellowson, Yellowson, Yellowson, Yellowson.
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.