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 Angola and from Calgary.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Johannesburg and Johannesburg.
I'm losing my edge to the art-school Johannesburg 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 clarinet sounds with much patience.
I was there when David Bowie 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 Rod Modell to the techno kids.
I played it at Trash.
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 The Buckinghams. All the underground hits.
All Skaos tracks. I heard you have a vinyl of every Shoche record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Red Lorry Yellow Lorry record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Justin Hinds & The Dominoes,
Sight & Sound,
This Heat,
Hashim,
Avey Tare & Kría Brekkan,
PIL,
Eric Dolphy,
Hasil Adkins,
Banda Bassotti,
B.T. Express,
Curtis Mayfield,
Simply Red,
The Cramps,
Alton Ellis,
Mandrill,
Jeff Mills,
Pharoah Sanders,
Desert Stars,
The Electric Prunes,
Lebanon Hanover,
London Community Gospel Choir,
Susan Cadogan,
Talk Talk,
Skaos,
Radiopuhelimet,
Crispian St. Peters,
John Lydon,
Slick Rick,
Richard Hell and the Voidoids,
Jimmy McGriff,
Skriet,
The Toasters,
Wasted Youth,
James White and The Blacks,
Kings Of Tomorrow,
Ajijia Myrayebe,
Loose Ends,
ABBA,
Absolute Body Control,
Sun Ra Arkestra,
Sam Rivers,
Sparks,
The Grass Roots,
Jandek,
Matthew Halsall,
Althea and Donna,
James Chance & The Contortions,
Man Parrish,
Kenny Larkin,
Neil Young,
Peter & Gordon,
Stereo Dub,
Cheater Slicks,
The Beau Brummels,
The Mummies,
Fat Boys,
Tom Boy,
The Cure,
Robert Görl,
Television,
Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis.
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.