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 Namibia and from Lyon.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1979.
I'm losing my edge.
To all the kids in Paris and Madrid.
I'm losing my edge to the art-school Philadelphia 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 chamberlin 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 Sly & The Family Stone to the grime kids.
I played it at Cafe Wha.
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 Hashim. All the underground hits.
All Andrew Hill tracks. I heard you have a vinyl of every Crash Course in Science 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 '70s cut and another box set from the '70s.
I hear you're buying a linndrum and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Arcadia record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marine Girls,
Rakim,
Infiniti,
Quadrant,
The Music Machine,
Minny Pops,
Clear Light,
Flash Fearless,
DeepChord presents Echospace,
the Normal,
The Vogues,
EPMD,
Technova,
World's Most,
Fad Gadget,
Robert Hood,
Rufus Thomas,
The Litter,
Radiohead,
This Heat,
Electric Light Orchestra,
D'Angelo,
Drexciya,
Sad Lovers and Giants,
Wally Richardson,
Pharaoh Sanders and the Fire Engines,
the Slits,
Roxy Music,
Half Japanese,
Josef K,
The Real Kids,
Crime,
The Zeros,
The Detroit Cobras,
June Days,
Scratch Acid,
Metal Thangz,
Kevin Saunderson,
KRS-One,
Gichy Dan,
Eli Mardock,
The Gladiators,
Delon & Dalcan,
The Moleskins,
The Wake,
The Sisters of Mercy,
Dr. Dre and Snoop Doggy Dog,
Wire,
Wighnomy Brothers & Robag Wruhme,
Deakin,
Nico,
Rowland S Howard / Lydia Lunch,
Interpol,
Matthew Halsall,
Peter Gordon & Love of Life Orchestra,
Swans,
Das Ding,
Tomorrow,
Scion,
Severed Heads,
Heavy D & The Boyz,
Gabor Szabo,
The Monochrome Set,
Peter and Kerry, Peter and Kerry, Peter and Kerry, Peter and Kerry.
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.