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 Brunei and from Tokyo.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Edmonton and Paris.
I'm losing my edge to the art-school Lille 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 spring reverb sounds with much patience.
I was there when Holger Czukay 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 Idris Muhammad to the crunk 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 John Foxx. All the underground hits.
All Max Romeo tracks. I heard you have a vinyl of every Wolf Eyes record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Soul Sonic Force record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camberwell Now,
Sällskapet,
Animal Collective,
Parry Music,
F. McDonald,
Sonic Youth,
Adolescents,
Gregory Isaacs,
Reagan Youth,
Little Man,
Sun Ra,
Junior Murvin,
Gil Scott Heron,
This Heat,
Spandau Ballet,
Crime,
Neil Young & Crazy Horse,
Scrapy,
Super Lover Cee & Casanova Rud,
Theoretical Girls,
Radio Birdman,
Nik Kershaw,
Liliput,
Quantec,
Andrew Ashong & Theo Parrish,
The Dead C,
Rhythm & Sound,
Ohio Players,
Glenn Branca,
Faust,
Gil Scott-Heron and Jamie xx,
The Shadows of Knight,
The Seeds,
Fort Wilson Riot,
The Cramps,
The J.B.'s,
ABBA,
Moss Icon,
Roxy Music,
Traffic Nightmare,
The Standells,
John Coltrane,
E-Dancer,
Drexciya,
Black Flag,
Quando Quango,
The Dirtbombs,
Oppenheimer Analysis,
Bootsy Collins,
Suburban Knight,
Captain Beefheart & His Magic Band,
Quadrant,
Curtis Mayfield,
Model 500,
New Order,
The Residents,
Juan Atkins,
John Foxx,
Heaven 17,
Reuben Wilson,
Throbbing Gristle,
Stiv Bators,
Dark Day, Dark Day, Dark Day, Dark Day.
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.