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 Paris.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Delhi and Philadelphia.
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 arpeggiator sounds with much patience.
I was there when Holger Czukay 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 Eric Dolphy to the electroclash 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 Tom Boy. All the underground hits.
All Electric Light Orchestra tracks. I heard you have a vinyl of every New Order record on German import.
I heard that you have a white label of every seminal dance 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 sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Gong record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stockholm Monsters,
Hardrive,
Nils Olav,
Main Source,
Kevin Saunderson,
Gang Starr,
Mark Hollis,
Glenn Branca,
Peter and Kerry,
Jimmy McGriff,
The Moody Blues,
Flash Fearless,
Big Daddy Kane,
Thinking Fellers Union Local 282,
The Shadows of Knight,
Derrick Morgan,
L. Decosne,
Talk Talk,
Kenny Larkin,
Bootsy Collins,
Anakelly,
Jacob Miller,
Dark Day,
Angels of Light & Akron/Family,
The New Christs,
Sällskapet,
the Germs,
Rekid,
Idris Muhammad,
Barrington Levy,
Freddie Wadling,
Cluster,
Robert Görl,
Steve Hackett,
These Immortal Souls,
Television Personalities,
Lou Christie,
Leonard Cohen,
Joensuu 1685,
The Cure,
Maleditus Sound,
Scratch Acid,
The Martian,
The Fuzztones,
The West Coast Pop Art Experimental Band,
Lungfish,
Vladislav Delay,
Blossom Toes,
The Pop Group,
Neu!,
World's Most,
Dawn Penn,
The Fire Engines,
Buzzcocks,
Sun City Girls,
The Index,
Yazoo,
Icehouse,
Technova,
10cc,
Swell Maps,
The Residents,
Ornette Coleman, Ornette Coleman, Ornette Coleman, Ornette Coleman.
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.