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 East Timor and from Bremen.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1973.
I'm losing my edge.
To all the kids in Calgary and Lagos.
I'm losing my edge to the art-school Winnipeg 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 theremin 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 Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic to the techno kids.
I played it at the Hacienda.
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 Kas Product. All the underground hits.
All Lyres tracks. I heard you have a vinyl of every Electric Prunes record on German import.
I heard that you have a white label of every seminal punk 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 güiro and are throwing your macbook out the window because you want to make something real. You want to make a Marcia Griffiths record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Albert Ayler,
Visage,
Interpol,
Eurythmics,
Peter & Gordon,
The Chocolate Watch Band,
Radiopuhelimet,
Lucky Dragons,
Gian Franco Pienzio,
Connie Case,
Brand Nubian,
Barbara Tucker,
Rod Modell,
Joe Smooth,
Robert Wyatt,
Eve St. Jones,
Icehouse,
Malaria!,
Black Moon,
The Offenders,
Von Mondo,
Pierre Henry,
the Bar-Kays,
Clear Light,
Minnie Riperton,
The Real Kids,
The Slackers,
Index,
Alphaville,
Ultra Naté,
The Detroit Cobras,
The Divine Comedy,
Laurel Aitken,
KRS-One,
Brass Construction,
Young Marble Giants,
The Misunderstood,
Beasts of Bourbon,
The Gladiators,
Kenny Larkin,
Ponytail,
Cal Tjader,
Public Image Ltd.,
Model 500,
Lightning Bolt,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Fluxion,
Sonic Youth,
Gil Scott-Heron and Jamie xx,
the Slits,
Electric Light Orchestra,
Heaven 17,
Wasted Youth,
This Heat,
Harmonia,
Lafayette Afro Rock Band,
Terrestrial Tones,
Skaos,
Black Sheep,
The Mojo Men,
Juan Atkins,
Be Bop Deluxe, Be Bop Deluxe, Be Bop Deluxe, Be Bop Deluxe.
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.