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 Panama and from Seoul.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Calgary and Tokyo.
I'm losing my edge to the art-school Columbus 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 organ sounds with much patience.
I was there when Holger Czukay 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 Pantaleimon to the jazz kids.
I played it at CBGB's.
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 Pere Ubu. All the underground hits.
All Prince Buster tracks. I heard you have a vinyl of every Charles Mingus record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a sitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Gichy Dan record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Bourne,
Dawn Penn,
Derrick May,
Los Fastidios,
Glambeats Corp.,
Sound Behaviour,
Alton Ellis,
The Peanut Butter Conspiracy,
Crash Course in Science,
Michelle Simonal,
Red Lorry Yellow Lorry,
Underground Resistance,
Eric B and Rakim,
The Durutti Column,
Mary Jane Girls,
Bush Tetras,
Scion,
The Cosmic Jokers,
The Electric Prunes,
Josef K,
Graham Central Station,
John Coltrane,
Liliput,
Sister Nancy,
Public Enemy,
LL Cool J,
Kerri Chandler,
Avey Tare,
Captain Beefheart & His Magic Band,
Bang on a Can All-Stars,
Susan Cadogan,
Jesper Dahlbäck,
La Düsseldorf,
Dead Boys,
Big Daddy Kane,
Shoche,
Jerry Gold Smith,
Sun City Girls,
Art Ensemble Of Chicago,
Erykah Badu,
Severed Heads,
Tubeway Army,
Rufus Thomas,
The Alarm Clocks,
Sonny Sharrock,
Camron Feat. Jay Z And Juelz,
Gerry Rafferty,
Erasure,
Robert Görl,
London Community Gospel Choir,
The Wake,
China Crisis,
Sun Ra,
Audionom,
Vaughan Mason & Crew,
Arab on Radar,
The Cure,
The Fugs,
Chrome,
Nirvana,
T. Rex,
Dark Day,
the Soft Cell,
Jeru the Damaja, Jeru the Damaja, Jeru the Damaja, Jeru the Damaja.
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.