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 Swaziland and from Beijing.
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 1973.
I'm losing my edge.
To all the kids in Johannesburg and Shanghai.
I'm losing my edge to the art-school Seoul 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 Nile Rodgers 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 Drive Like Jehu to the dance kids.
I played it at the Crocodile.
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 OOIOO. All the underground hits.
All The Monks tracks. I heard you have a vinyl of every Kool Moe Dee record on German import.
I heard that you have a white label of every seminal crunk 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 güiro and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Major Organ And The Adding Machine record.
I hear that you and your band have sold your clarinet and bought a 808.
I hear that you and your band have sold your 808 and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Junior Murvin,
Dual Sessions,
Rufus Thomas,
Heavy D & The Boyz,
Bootsy Collins,
Stetsasonic,
Be Bop Deluxe,
Steve Hackett,
Siouxsie and the Banshees,
Echospace,
Reagan Youth,
The Peanut Butter Conspiracy,
K-Klass,
Erykah Badu,
Lonnie Liston Smith,
Index,
Tomorrow,
Talk Talk,
Bill Wells,
The Remains,
The Sisters of Mercy,
Bush Tetras,
Sad Lovers and Giants,
X-Ray Spex,
Oppenheimer Analysis,
Fort Wilson Riot,
The Red Krayola,
the Bar-Kays,
Janne Schatter,
John Coltrane,
Spandau Ballet,
Charles Mingus,
Delon & Dalcan,
Fear,
Malaria!,
Eyeless In Gaza,
Minnie Riperton,
Rekid,
Skriet,
The Dave Clark Five,
Robert Hood,
Intrusion,
10cc,
Goldenarms,
Nick Fraelich,
Los Fastidios,
Fad Gadget,
Crime,
Man Parrish,
Buzzcocks,
Stiv Bators,
a-ha,
Main Source,
Cecil Taylor,
One Last Wish,
Eric Dolphy,
Oblivians,
Yusef Lateef,
Strawberry Alarm Clock,
Cabaret Voltaire,
Mary Jane Girls, Mary Jane Girls, Mary Jane Girls, Mary Jane Girls.
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.