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 Paraguay and from Winnipeg.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1974.
I'm losing my edge.
To all the kids in Copenhagen and Portland.
I'm losing my edge to the art-school Beijing 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 snare 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 Dr. Dre and Snoop Doggy Dog to the jazz kids.
I played it at the Astoria.
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 Scott Walker. All the underground hits.
All The Stooges tracks. I heard you have a vinyl of every Eric B and Rakim 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 '70s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Kayak record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Monks,
Anakelly,
Schoolly D,
Judy Mowatt,
Robert Wyatt,
Ohio Players,
Mandrill,
Pagans,
Matthew Bourne,
Scientists,
Connie Case,
Zero Boys,
Rhythim Is Rhythim,
Sister Nancy,
Half Japanese,
PIL,
Oneida,
Harmonia,
Liliput,
Lindisfarne,
JFA,
Lungfish,
Lou Reed,
Talk Talk,
Soul II Soul,
Shoche,
The Busters,
Ludus,
New York Dolls,
Interpol,
MC5,
The Misunderstood,
Quantec,
Rufus Thomas,
The West Coast Pop Art Experimental Band,
De La Soul & Jungle Brothers,
Glambeats Corp.,
Can,
the Normal,
Vaughan Mason & Crew,
Duran Duran,
Livin' Joy,
Andrew Ashong & Theo Parrish,
Dawn Penn,
Harpers Bizarre,
The Durutti Column,
Agitation Free,
The Stooges,
L. Decosne,
Wally Richardson,
Ajijia Myrayebe,
Flamin' Groovies,
Marc Almond,
Public Image Ltd.,
DNA,
Gary Puckett & The Union Gap,
Soft Machine,
The New Christs,
Von Mondo,
Aural Exciters,
James White and The Blacks, James White and The Blacks, James White and The Blacks, James White and The Blacks.
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.