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 Turkmenistan and from Woodstock.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Toronto and London.
I'm losing my edge to the art-school Philadelphia 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 1979 at the first Josef K practice in a loft in Edinburgh.
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 Oneida to the disco 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 Blake Baxter. All the underground hits.
All Camron Feat. Jay Z And Juelz tracks. I heard you have a vinyl of every Darondo record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a theremin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Fatback Band record.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pantaleimon,
The West Coast Pop Art Experimental Band,
Skriet,
Scott Walker,
Echo & the Bunnymen,
The Toasters,
The Selecter,
Heaven 17,
Grandmaster Flash,
Charles Mingus,
Arthur Verocai,
The Invisible,
Sonic Youth,
Soulsonic Force,
Underground Resistance,
Man Parrish,
Amon Düül,
Sonny Sharrock,
Bobby Byrd,
the Human League,
Johnny Osbourne,
Warsaw,
Stereo Dub,
Chris & Cosey,
Delta 5,
Aaron Thompson,
Gang Starr,
Tomorrow,
The Move,
Ituana,
Kayak,
Gian Franco Pienzio,
The Evens,
Girls At Our Best!,
Prince Buster,
Cameo,
E-Dancer,
Matthew Halsall,
Soft Machine,
Robert Görl,
The Red Krayola,
Camouflage,
Beasts of Bourbon,
Wasted Youth,
Bluetip,
Popol Vuh,
Q65,
June of 44,
Reagan Youth,
Slave,
Lakeside,
Ken Boothe,
Altered Images,
Strawberry Alarm Clock,
Maurizio,
Minutemen,
Boz Scaggs,
Joensuu 1685,
The Gap Band,
The Fire Engines,
Peter Gordon & Love of Life Orchestra,
Hoover,
Roxy Music,
L. Decosne, L. Decosne, L. Decosne, L. Decosne.
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.