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 Denmark and from Milan.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1968 to 1971.
I'm losing my edge.
To all the kids in Lille and Paris.
I'm losing my edge to the art-school Spokane 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 rhodes sounds with much patience.
I was there when Tom Verlaine 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 Michelle Simonal to the grunge kids.
I played it at the Hacienda.
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 Sandy B. All the underground hits.
All The Smoke tracks. I heard you have a vinyl of every Man Parrish 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 '70s.
I hear you're buying a clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Grass Roots record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Wake,
Erasure,
Porter Ricks,
Young Marble Giants,
Pete Rock & C.L. Smooth,
Goldenarms,
Harpers Bizarre,
The Techniques,
June Days,
The Knickerbockers,
Agitation Free,
H. Thieme,
Warren Ellis,
Boogie Down Productions,
The Golliwogs,
Drexciya,
Lalo Schifrin,
Idris Muhammad,
June of 44,
Gil Scott Heron,
Parry Music,
Thinking Fellers Union Local 282,
Sun Ra Arkestra,
The Leaves,
Vainqueur,
Sound Behaviour,
Cymande,
Shoche,
Von Mondo,
Art Ensemble Of Chicago,
The Neon Judgement,
Pierre Henry,
Pharaoh Sanders and the Fire Engines,
New York Dolls,
Easy Going,
The Pop Group,
Mark Hollis,
the Normal,
These Immortal Souls,
Minor Threat,
The Last Poets,
Visionaries,LMNO, T- Love & Iriscience,
Delon & Dalcan,
The Cramps,
Bauhaus,
Althea and Donna,
Icehouse,
DJ Style,
Dennis Brown,
Graham Central Station,
The Remains,
Leonard Cohen,
Mad Mike,
Aswad,
The Busters,
Barrington Levy,
One Last Wish,
Ornette Coleman,
Black Pus, Black Pus, Black Pus, Black Pus.
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.