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 Rwanda and from Bologna.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Philadelphia and New York.
I'm losing my edge to the art-school Toronto 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 mellotron 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 Cluster to the techno 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 A Certain Ratio. All the underground hits.
All John Foxx tracks. I heard you have a vinyl of every Sugar Minott 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 '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Minutemen record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Simply Red,
Bobbi Humphrey,
Sonny Sharrock,
Brass Construction,
Slick Rick,
Scion,
Procol Harum,
Morten Harket,
Roger Hodgson,
Liaisons Dangereuses,
Be Bop Deluxe,
Larry & the Blue Notes,
Moby Grape,
Idris Muhammad,
Ralphi Rosario,
Technova,
Erasure,
X-102,
Amon Düül,
Kool Moe Dee,
This Heat,
B.T. Express,
Nils Olav,
Qualms,
Erykah Badu,
Chrome,
Black Flag,
Jacques Brel,
Electric Prunes,
Drexciya,
JFA,
Orchestral Manoeuvres in the Dark,
The Star Department,
Jeff Mills,
Swell Maps,
Gil Scott Heron,
Y Pants,
Nik Kershaw,
Gary Puckett & The Union Gap,
Dennis Brown,
Skaos,
ABBA,
Eurythmics,
Black Sheep,
The Young Rascals,
Hasil Adkins,
The Red Krayola,
DJ Style,
Youth Brigade,
Alice Coltrane,
The Doors,
Tomorrow,
Funky Four + One,
Niagra,
Anthony Braxton,
kango's stein massive,
Nirvana,
Jeff Lynne,
Kauko Röyhkä ja Narttu,
London Community Gospel Choir,
Marshall Jefferson,
Urselle, Urselle, Urselle, Urselle.
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.