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 Eritrea and from Tokyo.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Tokyo and Toronto.
I'm losing my edge to the art-school Copenhagen 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 linndrum sounds with much patience.
I was there when Robert Palmer 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 Tremeloes to the grime kids.
I played it at the Spitz.
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 Quadrant. All the underground hits.
All Roy Ayers Ubiquity tracks. I heard you have a vinyl of every Kerri Chandler record on German import.
I heard that you have a white label of every seminal techno 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 snare and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Sight & Sound record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eurythmics,
The Dead C,
Jacques Brel,
The Slackers,
Sex Pistols,
Stockholm Monsters,
Freddie Wadling,
Thinking Fellers Union Local 282,
Adolescents,
Eric B and Rakim,
Blossom Toes,
Television,
Prince Buster,
Essential Logic,
Soul II Soul,
The Buckinghams,
Pere Ubu,
Country Joe & The Fish,
Charles Mingus,
DJ Style,
Amazonics,
Kool Moe Dee,
Amon Düül II,
David Axelrod,
Niagra,
Crispy Ambulance,
Lizzy Mercier Descloux,
Stereo Dub,
De La Soul & Jungle Brothers,
Johnny Clarke,
Eric Dolphy,
The Move,
Graham Central Station,
The Selecter,
Nas,
Yellowson,
The Kinks,
Angels of Light & Akron/Family,
Soft Cell,
Davy DMX,
Ossler,
Pulsallama,
Crispian St. Peters,
Stiv Bators,
The Blackbyrds,
Nick Cave & The Bad Seeds,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Deakin,
The Pop Group,
Nirvana,
Angry Samoans,
Magazine,
Avey Tare,
Orchestral Manoeuvres in the Dark,
Babytalk,
Al Stewart,
Loose Ends,
Hardrive,
Harry Pussy,
Rhythm & Sound,
Barry Ungar,
China Crisis,
The Grass Roots,
Kango’s Stein Massive, Kango’s Stein Massive, Kango’s Stein Massive, Kango’s Stein Massive.
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.