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 Ukraine and from Taipei.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Halifax and Delhi.
I'm losing my edge to the art-school Glasgow 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 Kool G Rap & DJ Polo to the rock kids.
I played it at the Troubador.
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 Jesper Dahlbäck. All the underground hits.
All Rakim tracks. I heard you have a vinyl of every Isaac Hayes 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 '80s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aswad,
F. McDonald,
Minor Threat,
Althea and Donna,
Masters at Work,
John Foxx,
Pierre Henry,
Bauhaus,
Arthur Verocai,
Chris Corsano,
Zapp,
Pylon,
Eurythmics,
The United States of America,
The Fall,
Siouxsie and the Banshees,
Kas Product,
Adolescents,
Roy Ayers Ubiquity,
Zero Boys,
Surgeon,
The Fugs,
Ronan,
The Moleskins,
Young Marble Giants,
Bush Tetras,
Nas,
E-Dancer,
Fear,
T.S.O.L.,
Strawberry Alarm Clock,
Roger Hodgson,
Magma,
The Real Kids,
Underground Resistance,
MDC,
Wire,
Faust,
In Retrospect,
Alphaville,
Major Organ And The Adding Machine,
Rhythim Is Rhythim,
Y Pants,
Q and Not U,
Grauzone,
Matthew Halsall,
Archie Shepp,
Neil Young,
Grandmaster Flash,
The Skatalites,
John Holt,
Peter Gordon & Love of Life Orchestra,
Fatback Band,
Sparks,
Isaac Hayes,
B.T. Express,
The New Christs,
New Order,
Gang Gang Dance,
Man Parrish,
Scott Walker,
Glambeats Corp.,
cv313, cv313, cv313, cv313.
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.