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 Australia and from Taipei.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Tehran and Accra.
I'm losing my edge to the art-school Bologna 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 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 Joey Negro to the electroclash 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 Hoover. All the underground hits.
All Outsiders tracks. I heard you have a vinyl of every Masta Ace, Craig G, Kool G Rap, Big Daddy Kane record on German import.
I heard that you have a white label of every seminal rock 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 theremin 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 Men They Couldn't Hang record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Piero Umiliani,
Godley & Creme,
Animal Collective,
The Tremeloes,
Kool Moe Dee,
PIL,
Hardrive,
Roxy Music,
Flamin' Groovies,
Sly & The Family Stone,
Henry Cow,
Qualms,
Curtis Mayfield,
The Sonics,
Reagan Youth,
Drexciya,
Mission of Burma,
Quantec,
Nas,
Pussy Galore,
Can,
Visage,
Jesper Dahlbäck,
Wighnomy Brothers & Robag Wruhme,
Basic Channel,
Pulsallama,
Marcia Griffiths,
the Normal,
The Detroit Cobras,
The Gap Band,
Avey Tare,
Drive Like Jehu,
Ash Ra Tempel,
Public Image Ltd.,
AZ,
Robert Görl,
Leonard Cohen,
Guru Guru,
Television,
Monolake,
The Happenings,
Radiopuhelimet,
The Cramps,
Soul II Soul,
These Immortal Souls,
The Sisters of Mercy,
Mantronix,
Jerry Gold Smith,
Gong,
Chris & Cosey,
Fort Wilson Riot,
Kerri Chandler,
Suicide,
The Slits,
Yusef Lateef,
Lebanon Hanover,
Sällskapet,
Wasted Youth,
Kurtis Blow,
Maleditus Sound,
Stiv Bators,
The Seeds,
R.M.O.,
Sixth Finger,
Selector Dub Narcotic, Selector Dub Narcotic, Selector Dub Narcotic, Selector Dub Narcotic.
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.