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 Angola and from Toronto.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1976.
I'm losing my edge.
To all the kids in Hong Kong and Madrid.
I'm losing my edge to the art-school Toronto 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 arpeggiator sounds with much patience.
I was there when Donald Fagen 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 Visage to the dance kids.
I played it at Trash.
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 Lee Hazlewood. All the underground hits.
All Marmalade tracks. I heard you have a vinyl of every Ornette Coleman 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 '70s.
I hear you're buying a mellotron and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Archie Shepp record.
I hear that you and your band have sold your clarinet and bought a marimba.
I hear that you and your band have sold your marimba and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Görl,
Stetsasonic,
Scott Walker,
Wally Richardson,
Judy Mowatt,
Public Image Ltd.,
The Sonics,
It's A Beautiful Day,
Skarface,
Pylon,
The Blackbyrds,
The Beau Brummels,
Unrelated Segments,
New York Dolls,
Nick Fraelich,
Scientists,
The Searchers,
Bauhaus,
Talk Talk,
Minnie Riperton,
Funkadelic,
Lou Reed,
The Men They Couldn't Hang,
Traffic Nightmare,
Sun City Girls,
The Royal Family And The Poor,
Duran Duran,
Roy Ayers Ubiquity,
The Flesh Eaters,
the Sonics,
Porter Ricks,
Andrew Hill,
Kool Moe Dee,
The American Breed,
Soulsonic Force,
Maurizio,
The Fuzztones,
Tomorrow,
DNA,
Grauzone,
Black Moon,
Robert Wyatt,
Essential Logic,
Reagan Youth,
U.S. Maple,
Justin Hinds & The Dominoes,
The Angels of Light,
Piero Umiliani,
Junior Murvin,
Fluxion,
Johnny Osbourne,
Liliput,
Slave,
Kenny Larkin,
Arcadia,
Sonny Sharrock,
Manfred Mann's Earth Band,
Barclay James Harvest,
John Coltrane,
Henry Cow,
Sarah Menescal,
Jacob Miller,
New Age Steppers,
Roxy Music,
Bizarre Inc., Bizarre Inc., Bizarre Inc., Bizarre Inc..
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.