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 Equatorial Guinea and from Bologna.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Accra and Philadelphia.
I'm losing my edge to the art-school Paris 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 synthesizer 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 Aswad to the rap kids.
I played it at the Troubador.
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 Scott Walker. All the underground hits.
All DNA tracks. I heard you have a vinyl of every James Chance & The Contortions 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 '60s cut and another box set from the '80s.
I hear you're buying a theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a the Bar-Kays record.
I hear that you and your band have sold your snare and bought a theremin.
I hear that you and your band have sold your theremin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New Age Steppers,
Jimmy McGriff,
The Seeds,
Henry Cow,
The Raincoats,
Arthur Verocai,
The Grass Roots,
David Axelrod,
Interpol,
X-Ray Spex,
Q and Not U,
Supertramp,
The Doors,
AZ,
ABC,
Camron Feat. Memphis Bleek And Beenie Seigel,
OOIOO,
Massinfluence,
Althea and Donna,
Gong,
This Heat,
Model 500,
Silicon Teens,
Oneida,
T. Rex,
Jeru the Damaja,
Second Layer,
Ossler,
Jerry's Kids,
Swell Maps,
Section 25,
The Residents,
Sight & Sound,
The Royal Family And The Poor,
Royal Trux,
Patti Smith,
Clear Light,
Sticky Fingaz feat. Raekwon,
Organ,
Joyce Sims,
Inner City,
Harmonia,
Red Lorry Yellow Lorry,
Anakelly,
Gang Gang Dance,
The Vogues,
The Young Rascals,
Lonnie Liston Smith,
Rites of Spring,
Soulsonic Force,
Sandy B,
Don Cherry,
Tommy Roe,
Pussy Galore,
Motorama,
Kaleidoscope,
John Cale,
The Neon Judgement,
The Leaves,
Outsiders,
Kerri Chandler,
The Real Kids, The Real Kids, The Real Kids, The Real Kids.
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.