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 Montenegro and from Winnipeg.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1974.
I'm losing my edge.
To all the kids in Tehran and Houston.
I'm losing my edge to the art-school Tehran 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 chamberlin 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 KRS-One to the punk 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 Jimmy McGriff. All the underground hits.
All The Raincoats tracks. I heard you have a vinyl of every Ajijia Myrayebe record on German import.
I heard that you have a white label of every seminal disco 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 a snare and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Joensuu 1685 record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric Dolphy,
Man Eating Sloth,
The Victims,
Simply Red,
Max Romeo,
Eve St. Jones,
Peter Gordon & Love of Life Orchestra,
Harpers Bizarre,
Nico,
Donald Byrd,
DeepChord presents Echospace,
Crash Course in Science,
Roger Hodgson,
Warsaw,
The Names,
Pantaleimon,
Rhythim Is Rhythim,
Anthony Braxton,
Morten Harket,
Glenn Branca,
The Kinks,
Fluxion,
John Cale,
Robert Görl,
Yaz,
Crooked Eye,
Jerry's Kids,
Orchestral Manoeuvres in the Dark,
The Toasters,
Scrapy,
The Velvet Underground,
Rekid,
Janne Schatter,
Teenage Jesus and the Jerks,
A Certain Ratio,
Soft Machine,
Marcia Griffiths,
The Barracudas,
Joyce Sims,
John Holt,
Ultravox,
Lebanon Hanover,
Malaria!,
Swell Maps,
the Soft Cell,
X-102,
Gastr Del Sol,
James Chance & The Contortions,
Sparks,
Dr. Dre and Snoop Doggy Dog,
Au Pairs,
Mars,
Spoonie Gee,
Adolescents,
Masters at Work,
The Fuzztones,
Ken Boothe,
Quando Quango,
Aural Exciters, Aural Exciters, Aural Exciters, Aural Exciters.
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.