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 Brazil and from Houston.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Bologna and Tokyo.
I'm losing my edge to the art-school Houston 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 theremin 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 Magma to the disco kids.
I played it at the Troubador.
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 Porter Ricks. All the underground hits.
All Lebanon Hanover tracks. I heard you have a vinyl of every Crime 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 808 and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Talk Talk record.
I hear that you and your band have sold your theremin and bought a guitar.
I hear that you and your band have sold your guitar and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Lydon,
F. McDonald,
Animal Collective,
John Holt,
Saccharine Trust,
Orchestral Manoeuvres in the Dark,
Eric B and Rakim,
Matthew Halsall,
Barrington Levy,
Bluetip,
Bad Manners,
Archie Shepp,
the Soft Cell,
Tres Demented,
8 Eyed Spy,
Shoche,
Pagans,
The Motions,
The Mojo Men,
Delta 5,
Sly & The Family Stone,
Roy Ayers Ubiquity,
Tim Buckley,
Captain Beefheart & His Magic Band,
The Pretty Things,
Alton Ellis,
Sällskapet,
Dorothy Ashby,
Jeff Mills,
Massinfluence,
Freddie Wadling,
Rufus Thomas,
This Heat,
The Beau Brummels,
KRS-One,
Amon Düül II,
Kauko Röyhkä ja Narttu,
the Bar-Kays,
Kurtis Blow,
Vainqueur,
Patti Smith,
Major Organ And The Adding Machine,
Black Bananas,
Michelle Simonal,
MC5,
Nico,
Moebius,
Lonnie Liston Smith,
Matthew Bourne,
Jacob Miller,
Tom Boy,
Steve Hackett,
Easy Going,
Bang On A Can,
The West Coast Pop Art Experimental Band,
Joensuu 1685,
The Cowsills,
Art Ensemble Of Chicago,
The Modern Lovers,
Tropical Tobacco,
Mo-Dettes,
The Young Rascals,
The Vogues, The Vogues, The Vogues, The Vogues.
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.