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 Uzbekistan and from Tehran.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 1975.
I'm losing my edge.
To all the kids in Bologna and Madrid.
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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the harpsichord 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 Minny Pops to the grime kids.
I played it at the Troubador.
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 Ornette Coleman. All the underground hits.
All Aural Exciters tracks. I heard you have a vinyl of every John Holt record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Audionom record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare & Kría Brekkan,
Crash Course in Science,
Bluetip,
Orchestral Manoeuvres in the Dark,
Sparks,
The Cowsills,
Masters at Work,
Lafayette Afro Rock Band,
Prince Buster,
Donny Hathaway,
Fad Gadget,
Warren Ellis,
DeepChord presents Echospace,
The United States of America,
Robert Hood,
Oblivians,
The Gun Club,
Captain Beefheart & His Magic Band,
Lakeside,
MC5,
Cymande,
D'Angelo,
Drive Like Jehu,
Larry & the Blue Notes,
The Motions,
MDC,
Albert Ayler,
Jawbox,
Darondo,
Nick Fraelich,
R.M.O.,
Colin Newman,
Deadbeat,
Jandek,
Althea and Donna,
Judy Mowatt,
Chris Corsano,
Quadrant,
the Fania All-Stars,
Brand Nubian,
Nation of Ulysses,
Suburban Knight,
Lee Hazlewood,
CMW,
Infiniti,
The Fugs,
Barclay James Harvest,
Barry Ungar,
Drexciya,
Matthew Halsall,
Soft Machine,
Patti Smith,
Shoche,
David Axelrod,
Visage,
Röyhkä ja Rättö ja Lehtisalo,
Roger Hodgson,
Roy Ayers Ubiquity,
Jesper Dahlbäck,
Porter Ricks,
Minny Pops,
Wally Richardson,
The Last Poets, The Last Poets, The Last Poets, The Last Poets.
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.