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 Tuvalu and from Beijing.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Philadelphia and Madrid.
I'm losing my edge to the art-school Seoul 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the arpeggiator 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 Harry Pussy to the jazz kids.
I played it at the 40 Watt.
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 The Stooges. All the underground hits.
All Metal Thangz tracks. I heard you have a vinyl of every Wire 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 chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Kurtis Blow record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Wyatt,
Pulsallama,
Laurel Aitken,
Sparks,
Newcleus,
Mary Jane Girls,
the Swans,
Blancmange,
Gil Scott Heron,
Pharoah Sanders,
Larry & the Blue Notes,
The Evens,
Can,
The Wake,
Young Marble Giants,
Eric B and Rakim,
Marvin Gaye,
Strawberry Alarm Clock,
The Beau Brummels,
Pete Rock & C.L. Smooth,
David McCallum,
John Coltrane,
Sugar Minott,
Q and Not U,
X-101,
The Buckinghams,
Neil Young & Crazy Horse,
Skaos,
48th St. Collective,
The Zeros,
Soft Machine,
Scientists,
The Grass Roots,
K-Klass,
The Tremeloes,
Minor Threat,
Symarip,
John Holt,
The Move,
Ponytail,
Deutsch Amerikanische Freundschaft,
Lakeside,
the Association,
Rotary Connection,
Public Image Ltd.,
Drexciya,
MC5,
Tom Boy,
Ornette Coleman,
De La Soul & Jungle Brothers,
Blossom Toes,
Blake Baxter,
Silicon Teens,
Echo & the Bunnymen,
Suburban Knight,
ABBA,
Delta 5,
Grauzone,
Das Ding,
Rahsaan Roland Kirk,
Lou Reed & Metallica,
Danielle Patucci, Danielle Patucci, Danielle Patucci, Danielle Patucci.
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.