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 Zambia and from Tehran.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1969 to 1972.
I'm losing my edge.
To all the kids in Madrid and Lyon.
I'm losing my edge to the art-school Taipei 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 Lou Reed 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 Cluster to the rock kids.
I played it at the Crocodile.
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 DJ Style. All the underground hits.
All Unwound tracks. I heard you have a vinyl of every Tears for Fears record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an arpeggiator and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Moebius record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Howard Jones,
Little Man,
Maurizio,
Excepter,
L. Decosne,
Pete Rock & C.L. Smooth,
Steve Hackett,
Stetsasonic,
Sonny Sharrock,
The Black Dice,
Clear Light,
Swell Maps,
Robert Wyatt,
Prince Buster,
The Electric Prunes,
The Techniques,
Gil Scott Heron,
Andrew Ashong & Theo Parrish,
U.S. Maple,
DNA,
Bobby Hutcherson,
Althea and Donna,
Notorious BIG live in Amsterdam,
Captain Beefheart & His Magic Band,
Alice Coltrane,
The Angels of Light,
The Flesh Eaters,
Kerrie Biddell,
Peter Gordon & Love of Life Orchestra,
The Slits,
Piero Umiliani,
Lalann,
Sexual Harrassment,
The Associates,
Camouflage,
Ultramagnetic MC's,
The Mojo Men,
James White and The Blacks,
Cheater Slicks,
The New Christs,
Sarah Menescal,
Masters at Work,
Swans,
Aaron Thompson,
Smog,
ABBA,
Drexciya,
Wire,
The J.B.'s,
Roger Hodgson,
Ohio Players,
Brand Nubian,
The Motions,
The Moleskins,
Underground Resistance,
Lyres,
Dr. Dre and Snoop Doggy Dog,
Radio Birdman,
The Gun Club,
John Lydon,
Leonard Cohen,
Crash Course in Science,
Aloha Tigers, Aloha Tigers, Aloha Tigers, Aloha Tigers.
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.