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 Nauru and from Manila.
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 1971.
I'm losing my edge.
To all the kids in Woodstock and Johannesburg.
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 1983 at the first Art of Noise practice in a loft in London.
I was working on the sitar sounds with much patience.
I was there when Lou Reed 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 Pagans to the jazz 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 Kenny Larkin. All the underground hits.
All Von Mondo tracks. I heard you have a vinyl of every Drexciya record on German import.
I heard that you have a white label of every seminal rap 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 a rhodes and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Rapeman record.
I hear that you and your band have sold your oboe and bought a güiro.
I hear that you and your band have sold your güiro and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Spandau Ballet,
Camron Feat. Memphis Bleek And Beenie Seigel,
Brand Nubian,
Amon Düül II,
The Seeds,
Rotary Connection,
Alton Ellis,
Sister Nancy,
The Buckinghams,
Country Joe & The Fish,
The Knickerbockers,
Sun Ra Arkestra,
Robert Görl,
The Count Five,
L. Decosne,
Tommy Roe,
Agitation Free,
James Chance & The Contortions,
Suicide,
Althea and Donna,
Lalo Schifrin,
The Happenings,
Talk Talk,
Peter Gordon & Love of Life Orchestra,
John Coltrane,
Albert Ayler,
Whodini,
8 Eyed Spy,
The Flesh Eaters,
Byron Stingily,
Neu!,
The Jesus and Mary Chain,
One Last Wish,
Robert Hood,
Mr. Review,
Beasts of Bourbon,
Godley & Creme,
Interpol,
Echo & the Bunnymen,
Porter Ricks,
Black Pus,
Monolake,
Major Organ And The Adding Machine,
Suburban Knight,
Angry Samoans,
Shuggie Otis,
Flamin' Groovies,
Kas Product,
The Trojans,
Susan Cadogan,
Boredoms,
Mission of Burma,
Funky Four + One,
Funkadelic,
Wings,
Tim Buckley,
London Community Gospel Choir,
Teenage Jesus and the Jerks,
Aloha Tigers,
Be Bop Deluxe,
The Associates,
Bang On A Can,
Pet Shop Boys,
Panda Bear, Panda Bear, Panda Bear, Panda Bear.
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.