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 Libya and from New York.
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 1977.
I'm losing my edge.
To all the kids in Seoul and Madrid.
I'm losing my edge to the art-school Lyon 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 808 sounds with much patience.
I was there when Captain Beefheart 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 Mo-Dettes to the grime 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 Pylon. All the underground hits.
All Selector Dub Narcotic tracks. I heard you have a vinyl of every Neil Young & Crazy Horse record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Blake Baxter record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Judy Mowatt,
the Association,
The Chocolate Watch Band,
Ice-T,
Country Joe & The Fish,
Lonnie Liston Smith,
Larry & the Blue Notes,
De La Soul & Jungle Brothers,
Subhumans,
Model 500,
Bauhaus,
the Human League,
John Coltrane,
Procol Harum,
Scrapy,
The Seeds,
The Detroit Cobras,
The Walker Brothers,
Unwound,
Mantronix,
The Techniques,
Ash Ra Tempel,
Electric Prunes,
Soft Machine,
Janne Schatter,
The Raincoats,
Zapp,
Ituana,
Be Bop Deluxe,
Jerry Gold Smith,
The Trojans,
Saccharine Trust,
48th St. Collective,
Harry Pussy,
Kerrie Biddell,
ABC,
Rod Modell,
Spandau Ballet,
Hoover,
The Fortunes,
Television Personalities,
Pylon,
The Dirtbombs,
Clear Light,
Negative Approach,
Bobbi Humphrey,
Major Organ And The Adding Machine,
Sticky Fingaz feat. Raekwon,
Mad Mike,
The Monks,
Pere Ubu,
Arthur Verocai,
Roy Ayers,
T.S.O.L.,
Frankie Knuckles,
Amon Düül,
Audionom,
Max Romeo,
Notorious BIG live in Amsterdam,
Qualms, Qualms, Qualms, Qualms.
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.