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 Egypt and from Tokyo.
But I was there.
I was there in .
I was there at the first Suicide 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 1966 to 1979.
I'm losing my edge.
To all the kids in Copenhagen and Hong Kong.
I'm losing my edge to the art-school Bremen 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 David Bowie 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 Hashim to the funk 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 Agitation Free. All the underground hits.
All The Invisible tracks. I heard you have a vinyl of every Marshall Jefferson record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and an organ and are throwing your macbook out the window because you want to make something real. You want to make a D'Angelo record.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Metal Thangz,
Dark Day,
Slick Rick,
Massinfluence,
Gang Gang Dance,
Scrapy,
Jeru the Damaja,
Kool G Rap & DJ Polo,
Johnny Clarke,
Sandy B,
Amon Düül II,
Flipper,
The Toasters,
Lalann,
The Monks,
Roger Hodgson,
The United States of America,
Hasil Adkins,
New York Dolls,
Harry Pussy,
Scientists,
Eli Mardock,
Connie Case,
Arthur Verocai,
Peter Gordon & Love of Life Orchestra,
Technova,
Minor Threat,
Crispian St. Peters,
Tears for Fears,
Laurel Aitken,
Alphaville,
Eric Dolphy,
The Smiths,
AZ,
KRS-One,
Notorious Big And Bone Thugs,
The Seeds,
Super Lover Cee & Casanova Rud,
Echospace,
Anthony Braxton,
Leonard Cohen,
Camouflage,
Freddie Wadling,
Sam Rivers,
Selector Dub Narcotic,
Black Sheep,
Ten City,
DJ Sneak,
The Slackers,
The Victims,
Jimmy McGriff,
Essential Logic,
The Leaves,
The Star Department,
Fear,
Bill Near,
Negative Approach,
Stereo Dub,
Parry Music,
B.T. Express,
Spandau Ballet,
The Chocolate Watch Band,
Blancmange,
the Bar-Kays, the Bar-Kays, the Bar-Kays, the Bar-Kays.
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.