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 Kenya and from Sao Paulo.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1975.
I'm losing my edge.
To all the kids in Beijing and Stockholm.
I'm losing my edge to the art-school Taipei 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 linndrum sounds with much patience.
I was there when Michael McDonald 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 Jacob Miller to the electroclash kids.
I played it at the 40 Watt.
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 Sunsets and Hearts. All the underground hits.
All Television tracks. I heard you have a vinyl of every Brothers Johnson record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a linndrum and an organ and are throwing your macbook out the window because you want to make something real. You want to make a June of 44 record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Albert Ayler,
New Age Steppers,
Cymande,
Röyhkä ja Rättö ja Lehtisalo,
Siouxsie and the Banshees,
Hoover,
Jandek,
Ossler,
Rowland S Howard / Lydia Lunch,
Severed Heads,
The Human League,
Man Eating Sloth,
Rotary Connection,
Bobby Hutcherson,
The West Coast Pop Art Experimental Band,
Super Lover Cee & Casanova Rud,
Hardrive,
The Music Machine,
Shuggie Otis,
The Chocolate Watch Band,
Art Ensemble Of Chicago,
Pet Shop Boys,
The Young Rascals,
Pylon,
Bill Wells,
Morten Harket,
Gang of Four,
Tommy Roe,
Delta 5,
Scan 7,
Dark Day,
Drexciya,
Kaleidoscope,
The Gun Club,
Monolake,
David McCallum,
Flash Fearless,
Metal Thangz,
Lyres,
Porter Ricks,
Young Marble Giants,
Matthew Bourne,
The Count Five,
The Slits,
The Busters,
Tubeway Army,
Dawn Penn,
Television,
Lower 48,
The Index,
Eric B and Rakim,
Jimmy McGriff,
The Gap Band,
Roy Ayers Ubiquity,
T. Rex,
Moby Grape,
Spandau Ballet,
Wings,
The J.B.'s,
Cluster,
The Cosmic Jokers,
Gil Scott-Heron & Brian Jackson,
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.