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 Senegal and from New York.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1978.
I'm losing my edge.
To all the kids in Mexico City and Tokyo.
I'm losing my edge to the art-school Lyon 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 organ sounds with much patience.
I was there when Captain Beefheart 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 Matthew Bourne to the funk kids.
I played it at CBGB's.
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 Banda Bassotti. All the underground hits.
All Rosa Yemen tracks. I heard you have a vinyl of every The Tremeloes record on German import.
I heard that you have a white label of every seminal dance 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 güiro and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Bobby Byrd record.
I hear that you and your band have sold your snare and bought an oboe.
I hear that you and your band have sold your oboe and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Radiopuhelimet,
A Certain Ratio,
Scan 7,
Stereo Dub,
Bang On A Can,
Cal Tjader,
Chrome,
T. Rex,
Amon Düül II,
Laurel Aitken,
Bauhaus,
Basic Channel,
Pet Shop Boys,
Loose Ends,
Yaz,
Mad Mike,
Orchestral Manoeuvres in the Dark,
Ultramagnetic MC's,
The Mighty Diamonds,
Chris Corsano,
Teenage Jesus and the Jerks,
Jeff Mills,
KRS-One,
Man Eating Sloth,
The Pretty Things,
Sam Rivers,
Porter Ricks,
Deepchord,
Ultravox,
Selector Dub Narcotic,
China Crisis,
The Litter,
The Gories,
Rapeman,
Negative Approach,
Rakim,
Glambeats Corp.,
Kas Product,
Andrew Hill,
Jandek,
The Knickerbockers,
Oneida,
The Real Kids,
Cecil Taylor,
Alton Ellis,
Technova,
New Age Steppers,
Erasure,
Sparks,
The Cowsills,
Pussy Galore,
Black Bananas,
Rosa Yemen,
Minny Pops,
48th St. Collective,
The Martian,
Reuben Wilson,
Crime,
Mary Jane Girls,
Pole,
Ronan,
The Last Poets,
Pete Rock & C.L. Smooth,
Slick Rick,
The Cramps, The Cramps, The Cramps, The Cramps.
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.