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 Tunisia and from Mumbai.
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 1960 to 1978.
I'm losing my edge.
To all the kids in London and Stockholm.
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 1984 at the first Arcadia practice in a loft in London.
I was working on the spring reverb 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 Sex Pistols to the grunge kids.
I played it at the Roxy.
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 LL Cool J. All the underground hits.
All Pagans tracks. I heard you have a vinyl of every La Düsseldorf record on German import.
I heard that you have a white label of every seminal jazz 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 harpsichord and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Gregory Isaacs record.
I hear that you and your band have sold your snare and bought a marimba.
I hear that you and your band have sold your marimba and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Section 25,
Sandy B,
MDC,
The Slits,
Lightning Bolt,
The Grass Roots,
Tim Buckley,
Stockholm Monsters,
Traffic Nightmare,
Kool G Rap & DJ Polo,
Supertramp,
Kaleidoscope,
Marmalade,
June Days,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Lindisfarne,
Selector Dub Narcotic,
Terrestrial Tones,
The Moody Blues,
Quadrant,
Qualms,
The Gories,
Idris Muhammad,
Eric Dolphy,
Mandrill,
Harry Pussy,
Marcia Griffiths,
Lizzy Mercier Descloux,
Deutsch Amerikanische Freundschaft,
Spandau Ballet,
Don Cherry,
Sound Behaviour,
Liaisons Dangereuses,
Marshall Jefferson,
Super Lover Cee & Casanova Rud,
Cal Tjader,
Rhythm & Sound,
Adolescents,
the Normal,
Quando Quango,
Infiniti,
Depeche Mode,
Wasted Youth,
The Names,
Roger Hodgson,
U.S. Maple,
Glambeats Corp.,
Darondo,
Joensuu 1685,
Duran Duran,
Dorothy Ashby,
Bang On A Can,
The Gladiators,
Jesper Dahlbäck,
Sun City Girls,
Nick Cave & The Bad Seeds,
Eden Ahbez,
Archie Shepp,
Wolf Eyes,
The Velvet Underground, The Velvet Underground, The Velvet Underground, The Velvet Underground.
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.