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 Czech Republic and from London.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Portland and Paris.
I'm losing my edge to the art-school Shanghai 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 güiro 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 Tubeway Army to the crunk 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 Larry & the Blue Notes. All the underground hits.
All Gang of Four tracks. I heard you have a vinyl of every KRS-One record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an oboe and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Terror Squad Feat. Camron record.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Idris Muhammad,
Banda Bassotti,
Rhythm & Sound,
New York Dolls,
Skriet,
Juan Atkins,
The Buckinghams,
Brass Construction,
Byron Stingily,
Mars,
The Pop Group,
The Real Kids,
The Tremeloes,
The Fire Engines,
Echospace,
A Flock of Seagulls,
DJ Sneak,
Rosa Yemen,
The Residents,
Severed Heads,
The Human League,
Isaac Hayes,
Avey Tare's Slasher Flicks,
Notorious Big And Bone Thugs,
Jesper Dahlbäck,
DNA,
Japan,
Wighnomy Brothers & Robag Wruhme,
Schoolly D,
Intrusion,
Sun Ra Arkestra,
John Lydon,
Man Eating Sloth,
Absolute Body Control,
The Durutti Column,
Joey Negro,
Depeche Mode,
Pussy Galore,
The Index,
EPMD,
The Mojo Men,
The Slits,
Joensuu 1685,
Pierre Henry,
Das Ding,
Rahsaan Roland Kirk,
The Associates,
Gerry Rafferty,
Art Ensemble Of Chicago,
Lightning Bolt,
Bad Manners,
Super Lover Cee & Casanova Rud,
Fat Boys,
Average White Band,
Soul Sonic Force,
Surgeon,
MDC,
Skaos,
Moby Grape, Moby Grape, Moby Grape, Moby Grape.
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.