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 Dominican Republic and from Bremen.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Mumbai and Delhi.
I'm losing my edge to the art-school Mumbai 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 Ultramagnetic MC's to the techno kids.
I played it at the Hacienda.
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 Kool Moe Dee. All the underground hits.
All Camberwell Now tracks. I heard you have a vinyl of every Qualms 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 '50s cut and another box set from the '90s.
I hear you're buying a linndrum and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Yaz record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Intrusion,
The Names,
Kevin Saunderson,
Funky Four + One,
The Raincoats,
Laurel Aitken,
The Cramps,
F. McDonald,
Kenny Larkin,
Marcia Griffiths,
Jeff Mills,
China Crisis,
Unrelated Segments,
Mars,
Tomorrow,
Manfred Mann's Earth Band,
Joe Finger,
Wire,
The Standells,
Bootsy's Rubber Band,
Pharaoh Sanders and the Fire Engines,
The Barracudas,
Goldenarms,
cv313,
The Saints,
Kayak,
Art Ensemble Of Chicago,
Moby Grape,
The New Christs,
Joyce Sims,
Kool Moe Dee,
The Smoke,
One Last Wish,
Pantaleimon,
the Human League,
The Slits,
Juan Atkins,
The Index,
Sex Pistols,
Blossom Toes,
The Monks,
Spoonie Gee,
Wings,
Avey Tare,
Au Pairs,
The Pretty Things,
Delon & Dalcan,
Q and Not U,
Lindisfarne,
Nation of Ulysses,
Andrew Ashong & Theo Parrish,
The Star Department,
The Blackbyrds,
Von Mondo,
Roy Ayers,
Tubeway Army,
Soft Machine,
Interpol,
The Music Machine,
Bob Dylan,
Kings Of Tomorrow,
The Fuzztones, The Fuzztones, The Fuzztones, The Fuzztones.
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.