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 United States and from London.
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 1975.
I'm losing my edge.
To all the kids in Milan and Woodstock.
I'm losing my edge to the art-school London 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the mellotron 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 the Fania All-Stars to the grunge 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 Dual Sessions. All the underground hits.
All Hoover tracks. I heard you have a vinyl of every Severed Heads record on German import.
I heard that you have a white label of every seminal dance 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 marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Jeru the Damaja record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Silicon Teens,
Grandmaster Flash and the Furious Five,
D'Angelo,
Kango’s Stein Massive,
Grauzone,
Eli Mardock,
The Litter,
Siglo XX,
Buzzcocks,
Janne Schatter,
Second Layer,
Sun Ra Arkestra,
Boredoms,
Todd Terry,
The Moleskins,
The Real Kids,
Zero Boys,
Jacques Brel,
Nation of Ulysses,
DJ Sneak,
Eurythmics,
Gang Starr,
Chrome,
JFA,
Joe Smooth,
Stockholm Monsters,
Archie Shepp,
Roxy Music,
Excepter,
Marmalade,
Mad Mike,
Boz Scaggs,
Faraquet,
Pussy Galore,
In Retrospect,
Marc Romboy vs. Booka Shade,
The Toasters,
The Selecter,
Brass Construction,
Colin Newman,
Pagans,
Rosa Yemen,
Inner City,
the Soft Cell,
Wings,
Moss Icon,
John Foxx,
Matthew Halsall,
Albert Ayler,
Liliput,
The Evens,
David Axelrod,
The Happenings,
Gastr Del Sol,
La Düsseldorf,
The Smiths,
The Martian,
ABC,
Joyce Sims,
Idris Muhammad,
The Monochrome Set, The Monochrome Set, The Monochrome Set, The Monochrome Set.
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.