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 Burundi and from New York.
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 1979.
I'm losing my edge.
To all the kids in Sao Paulo and Accra.
I'm losing my edge to the art-school Manchester 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 marimba sounds with much patience.
I was there when Donald Fagen 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 Bobbi Humphrey to the funk kids.
I played it at Trash.
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 Godley & Creme. All the underground hits.
All Minutemen tracks. I heard you have a vinyl of every The Moody Blues record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a snare and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Main Source record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quadrant,
Davy DMX,
The Young Rascals,
Roy Ayers,
Warren Ellis,
Connie Case,
Mo-Dettes,
Dawn Penn,
Marc Almond,
The Remains,
Lou Christie,
Bill Near,
Shuggie Otis,
The Mighty Diamonds,
Roy Ayers Ubiquity,
K-Klass,
Television,
The Techniques,
Japan,
The Electric Prunes,
Thompson Twins,
The Five Americans,
Vaughan Mason & Crew,
Gang Starr,
CMW,
The Walker Brothers,
The Stooges,
Lightning Bolt,
The Alarm Clocks,
Robert Hood,
Desert Stars,
Kerrie Biddell,
Justin Hinds & The Dominoes,
Alison Limerick,
Absolute Body Control,
The United States of America,
Chrome,
DJ Sneak,
Scrapy,
Los Fastidios,
Ludus,
The Smoke,
Laurel Aitken,
Fluxion,
Minnie Riperton,
X-Ray Spex,
Peter and Kerry,
Scion,
Don Cherry,
Darondo,
Heavy D & The Boyz,
kango's stein massive,
Terry Callier,
Lafayette Afro Rock Band,
48th St. Collective,
Maleditus Sound,
Joe Finger,
Avey Tare's Slasher Flicks,
Black Moon,
EPMD,
Drexciya,
The Divine Comedy,
Camberwell Now, Camberwell Now, Camberwell Now, Camberwell Now.
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.