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 Liberia and from Houston.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Woodstock and Johannesburg.
I'm losing my edge to the art-school Milan 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 marimba 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 Wally Richardson to the electroclash 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 The Index. All the underground hits.
All Wally Richardson tracks. I heard you have a vinyl of every Quando Quango record on German import.
I heard that you have a white label of every seminal jazz 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 a güiro and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a kango's stein massive record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kerrie Biddell,
Ronan,
The Jesus and Mary Chain,
Selector Dub Narcotic,
Freddie Wadling,
Marc Romboy vs. Booka Shade,
The Stooges,
X-Ray Spex,
Basic Channel,
Hardrive,
Gang Green,
Major Organ And The Adding Machine,
Tropical Tobacco,
Matthew Bourne,
Faust,
Tom Boy,
Main Source,
Dr. Dre and Snoop Doggy Dog,
Bush Tetras,
Rhythim Is Rhythim,
Marine Girls,
the Soft Cell,
Byron Stingily,
Eve St. Jones,
Jacques Brel,
Khruangbin,
The Flesh Eaters,
EPMD,
Rhythm & Sound,
Banda Bassotti,
Slick Rick,
Sun Ra,
Michelle Simonal,
Loose Ends,
the Slits,
The Sound,
Lafayette Afro Rock Band,
Johnny Clarke,
Nico,
The Associates,
Average White Band,
Porter Ricks,
Pulsallama,
A Flock of Seagulls,
Underground Resistance,
Ice-T,
The Names,
Yazoo,
Fela Kuti,
Bootsy's Rubber Band,
Kurtis Blow,
Ronnie Foster,
Sarah Menescal,
Chris & Cosey,
Sly & The Family Stone,
Gary Puckett & The Union Gap,
JFA,
La Düsseldorf,
F. McDonald,
Justin Hinds & The Dominoes,
The Dave Clark Five,
DeepChord presents Echospace,
Aural Exciters, Aural Exciters, Aural Exciters, Aural Exciters.
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.