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 China and from Lyon.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Delhi and Taipei.
I'm losing my edge to the art-school London 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 Donald Fagen 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 Rhythm & Sound to the rap kids.
I played it at CBGB's.
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 Sex Pistols. All the underground hits.
All Peter & Gordon tracks. I heard you have a vinyl of every Pantaleimon record on German import.
I heard that you have a white label of every seminal grunge 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 chamberlin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Niagra record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Holt,
Chris & Cosey,
Terrestrial Tones,
The Five Americans,
The Jesus and Mary Chain,
Japan,
Isaac Hayes,
Fela Kuti,
Youth Brigade,
The Cramps,
Sun Ra Arkestra,
Major Organ And The Adding Machine,
Suicide,
The Vogues,
Avey Tare,
Brothers Johnson,
Fugazi,
Toni Rubio,
Tubeway Army,
Malaria!,
the Swans,
Magazine,
The Buckinghams,
Kas Product,
Mark Hollis,
Cecil Taylor,
Spandau Ballet,
Eurythmics,
Avey Tare & Kría Brekkan,
Porter Ricks,
Charles Mingus,
Tommy Roe,
The Neon Judgement,
The Real Kids,
Magma,
Orchestral Manoeuvres in the Dark,
Pantytec,
Los Fastidios,
The Gap Band,
London Community Gospel Choir,
Soft Cell,
New Order,
Crispy Ambulance,
Metal Thangz,
Bauhaus,
Von Mondo,
Liliput,
Animal Collective,
Talk Talk,
Popol Vuh,
Sly & The Family Stone,
Dawn Penn,
Subhumans,
Whodini,
Agitation Free,
Ohio Players,
Flamin' Groovies,
Sunsets and Hearts,
Drive Like Jehu,
Faust,
Matthew Halsall,
Sound Behaviour,
Second Layer, Second Layer, Second Layer, Second Layer.
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.