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 New Zealand and from Houston.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1976.
I'm losing my edge.
To all the kids in Tokyo and Manchester.
I'm losing my edge to the art-school Manila 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 arpeggiator sounds with much patience.
I was there when Robert Palmer 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 Urselle to the grunge kids.
I played it at the Roxy.
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 Pantaleimon. All the underground hits.
All Supertramp tracks. I heard you have a vinyl of every Notorious BIG live in Amsterdam record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a snare and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Monochrome Set record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Popol Vuh,
The Tremeloes,
Strawberry Alarm Clock,
Ralphi Rosario,
Rites of Spring,
The Dirtbombs,
Spoonie Gee,
Visionaries,LMNO, T- Love & Iriscience,
Harpers Bizarre,
Peter and Kerry,
Jacques Brel,
Fluxion,
Rowland S Howard / Lydia Lunch,
Cameo,
Kevin Saunderson,
Anakelly,
The Seeds,
Ohio Players,
Scientists,
Tubeway Army,
Pole,
Ken Boothe,
Jimmy McGriff,
David Axelrod,
Ultravox,
The United States of America,
Amon Düül II,
Los Fastidios,
Shoche,
F. McDonald,
Magazine,
The Pop Group,
Robert Görl,
The Flesh Eaters,
Red Lorry Yellow Lorry,
Alton Ellis,
Anthony Braxton,
LL Cool J,
Bootsy's Rubber Band,
Shuggie Otis,
MDC,
The Fugs,
Main Source,
Beasts of Bourbon,
Ash Ra Tempel,
Japan,
Roxy Music,
Slave,
Deakin,
Organ,
Rahsaan Roland Kirk,
Ronnie Foster,
Quando Quango,
Gang of Four,
Moby Grape,
Aswad,
The Durutti Column,
Mr. Review,
Warren Ellis,
The Invisible,
Animal Collective, Animal Collective, Animal Collective, Animal Collective.
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.