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 Uganda and from Mumbai.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Milan and Copenhagen.
I'm losing my edge to the art-school Calgary 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 güiro 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 Skaos to the rap kids.
I played it at Cafe Wha.
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 Amon Düül. All the underground hits.
All Pantaleimon tracks. I heard you have a vinyl of every Crime record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an oboe and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Archie Shepp record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultramagnetic MC's,
Jeru the Damaja,
Steve Hackett,
K-Klass,
Make Up,
Aswad,
Fat Boys,
KRS-One,
Fela Kuti,
Selector Dub Narcotic,
Rowland S Howard / Lydia Lunch,
Idris Muhammad,
Bobby Hutcherson,
Spoonie Gee,
Judy Mowatt,
The Doors,
Gang Gang Dance,
Barbara Tucker,
Mandrill,
Niagra,
Deutsch Amerikanische Freundschaft,
Rahsaan Roland Kirk,
De La Soul & Jungle Brothers,
Avey Tare's Slasher Flicks,
Notorious BIG live in Amsterdam,
Dawn Penn,
Kurtis Blow,
Ajijia Myrayebe,
Lou Reed & John Cale,
Suburban Knight,
Deadbeat,
Neu!,
Charles Mingus,
Gian Franco Pienzio,
John Lydon,
Ralphi Rosario,
Youth Brigade,
Crispian St. Peters,
Quantec,
Pussy Galore,
Andrew Hill,
Matthew Bourne,
Amon Düül II,
The West Coast Pop Art Experimental Band,
Lafayette Afro Rock Band,
The Gories,
The Busters,
DJ Style,
New York Dolls,
The Men They Couldn't Hang,
Ituana,
Kevin Saunderson,
Chris & Cosey,
Donny Hathaway,
Harmonia,
UT,
Trumans Water,
Peter & Gordon,
New Order,
World's Most,
Little Man, Little Man, Little Man, Little Man.
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.