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 Honduras and from Copenhagen.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Manchester and Mumbai.
I'm losing my edge to the art-school Bremen 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 organ 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 Donald Byrd to the techno 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 Bauhaus. All the underground hits.
All Subhumans tracks. I heard you have a vinyl of every Stetsasonic record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a theremin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Shadows of Knight 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?
The Flesh Eaters,
Pierre Henry,
Electric Light Orchestra,
X-101,
X-Ray Spex,
The Raincoats,
Stockholm Monsters,
Brothers Johnson,
Flamin' Groovies,
Newcleus,
Avey Tare & Kría Brekkan,
U.S. Maple,
The Residents,
Visionaries,LMNO, T- Love & Iriscience,
Oppenheimer Analysis,
Notorious BIG live in Amsterdam,
Aswad,
Babytalk,
Cal Tjader,
Pulsallama,
Marc Almond,
Don Cherry,
Tom Boy,
Marshall Jefferson,
Major Organ And The Adding Machine,
Isaac Hayes,
Sonic Youth,
Ornette Coleman,
Echospace,
Deepchord,
Kenny Larkin,
Icehouse,
The Happenings,
Heaven 17,
Traffic Nightmare,
B.T. Express,
Kaleidoscope,
Cameo,
Blancmange,
Moebius,
Swell Maps,
Malaria!,
Joe Smooth,
The Martian,
Ponytail,
Art Ensemble Of Chicago,
Dead Boys,
Sällskapet,
Altered Images,
Kool G Rap & DJ Polo,
Josef K,
Lyres,
Kool Moe Dee,
Neil Young & Crazy Horse,
Wire,
The Red Krayola,
The Pop Group,
The Victims,
Nirvana,
Soft Machine,
Visage,
Soft Cell,
Trumans Water,
Fat Boys, Fat Boys, Fat Boys, Fat Boys.
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.