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 Kuwait and from Woodstock.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Hong Kong and Sao Paulo.
I'm losing my edge to the art-school Tokyo 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 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 Fat Boys to the dance kids.
I played it at the Crocodile.
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 Nik Kershaw. All the underground hits.
All Avey Tare tracks. I heard you have a vinyl of every 48th St. Collective 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 '60s cut and another box set from the '70s.
I hear you're buying a harpsichord and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Wolf Eyes record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
LL Cool J,
Grandmaster Flash and the Furious Five,
Rod Modell,
Sunsets and Hearts,
Peter and Kerry,
The Electric Prunes,
Pulsallama,
Eric Copeland,
Supertramp,
Manfred Mann's Earth Band,
T. Rex,
Big Daddy Kane,
Lyres,
Harpers Bizarre,
The Gladiators,
Newcleus,
Schoolly D,
Marcia Griffiths,
David Axelrod,
Gil Scott-Heron & Brian Jackson,
Sonny Sharrock,
The Residents,
Clear Light,
the Sonics,
Danielle Patucci,
Sly & The Family Stone,
Nik Kershaw,
Swans,
The Neon Judgement,
Interpol,
Moss Icon,
Mark Hollis,
The Doobie Brothers,
The Evens,
The Selecter,
Heaven 17,
Avey Tare,
The Velvet Underground,
Marmalade,
Khruangbin,
Nick Cave & The Bad Seeds,
Sight & Sound,
Black Flag,
Be Bop Deluxe,
The Human League,
Joyce Sims,
Fugazi,
Traffic Nightmare,
Eyeless In Gaza,
Todd Rundgren,
Scan 7,
Radiohead,
UT,
Marc Romboy vs. Booka Shade,
Ash Ra Tempel,
Parry Music,
Soft Cell,
June of 44,
Lalann,
Andrew Hill,
Dark Day,
Notorious Big And Bone Thugs,
John Foxx,
Don Cherry, Don Cherry, Don Cherry, Don Cherry.
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.