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 Netherlands and from Seoul.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Mumbai and Copenhagen.
I'm losing my edge to the art-school Hong Kong 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 spring reverb 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 Super Lover Cee & Casanova Rud 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 Ultravox. All the underground hits.
All Thompson Twins tracks. I heard you have a vinyl of every Buzzcocks record on German import.
I heard that you have a white label of every seminal rock 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 an oboe and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Babytalk 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?
The Fire Engines,
Siglo XX,
The Sonics,
The Raincoats,
Section 25,
The Skatalites,
Bill Wells,
The Happenings,
Gerry Rafferty,
Rotary Connection,
the Slits,
The West Coast Pop Art Experimental Band,
Lower 48,
Tears for Fears,
Fat Boys,
The Gories,
Monolake,
Joy Division,
David McCallum,
The Standells,
Scratch Acid,
Sly & The Family Stone,
Bobby Sherman,
Dead Boys,
Tropical Tobacco,
Black Bananas,
Todd Terry,
The Gap Band,
Echospace,
Kerrie Biddell,
Althea and Donna,
Animal Collective,
Eric Copeland,
Piero Umiliani,
Easy Going,
The American Breed,
X-102,
Terrestrial Tones,
F. McDonald,
Delon & Dalcan,
Gastr Del Sol,
Art Ensemble Of Chicago,
Heaven 17,
The Mummies,
Mandrill,
Roy Ayers Ubiquity,
Grauzone,
The Saints,
Black Flag,
Half Japanese,
Crispian St. Peters,
The Names,
The Last Poets,
Television,
Stockholm Monsters,
The Pretty Things,
Letta Mbulu,
Rhythm & Sound,
World's Most,
Ajijia Myrayebe,
The Velvet Underground,
Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish.
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.