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 United States and from Salvador.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Beijing and Jakarta.
I'm losing my edge to the art-school Woodstock 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 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 The Vogues to the disco 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 Marc Almond. All the underground hits.
All The Walker Brothers tracks. I heard you have a vinyl of every Ronnie Foster 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 '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Avey Tare record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Derrick Morgan,
OOIOO,
Popol Vuh,
The Martian,
The Moleskins,
Pulsallama,
Public Enemy,
The Fall,
Parry Music,
Grey Daturas,
Camouflage,
The Cowsills,
Ultravox,
John Lydon,
Jesper Dahlbäck,
Sixth Finger,
Terror Squad Feat. Camron,
Sun City Girls,
The Chocolate Watch Band,
Girls At Our Best!,
Harmonia,
ABBA,
Jacques Brel,
The Zeros,
Excepter,
Jacob Miller,
Pole,
Darondo,
Captain Beefheart & His Magic Band,
Yazoo,
Sam Rivers,
Panda Bear,
Shuggie Otis,
Angry Samoans,
The American Breed,
ABC,
Soft Machine,
Amon Düül II,
The Slackers,
Severed Heads,
Soul Sonic Force,
Avey Tare & Kría Brekkan,
Dorothy Ashby,
Ice-T,
Byron Stingily,
Janne Schatter,
The Modern Lovers,
David McCallum,
Gichy Dan,
Nico,
Andrew Hill,
Eyeless In Gaza,
Suicide,
Moss Icon,
World's Most,
Marmalade,
the Slits,
The Litter,
Cymande,
The Fire Engines,
Rapeman, Rapeman, Rapeman, Rapeman.
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.