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 Hungary and from Manila.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Johannesburg and Glasgow.
I'm losing my edge to the art-school Calgary 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 güiro sounds with much patience.
I was there when Robert Palmer 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 Röyhkä ja Rättö ja Lehtisalo to the grunge 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 Scratch Acid. All the underground hits.
All Avey Tare's Slasher Flicks tracks. I heard you have a vinyl of every Jeff Mills record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a snare and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Gun Club record.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gang of Four,
Warsaw,
Jesper Dahlbäck,
Marc Almond,
Icehouse,
The Associates,
Ornette Coleman,
Suicide,
Nico,
Soul II Soul,
David Axelrod,
Marshall Jefferson,
Ken Boothe,
Suburban Knight,
Brick,
Rites of Spring,
Bluetip,
Peter and Kerry,
Agent Orange,
Section 25,
Royal Trux,
The Selecter,
Cameo,
Fad Gadget,
Sandy B,
Half Japanese,
Rufus Thomas,
Dorothy Ashby,
Unrelated Segments,
Pete Rock & C.L. Smooth,
Warren Ellis,
Fat Boys,
Soft Cell,
Tres Demented,
Fifty Foot Hose,
Lalo Schifrin,
Brass Construction,
The Jesus and Mary Chain,
Ash Ra Tempel,
Notorious BIG live in Amsterdam,
The Victims,
Arcadia,
Andrew Ashong & Theo Parrish,
Lower 48,
Japan,
Minnie Riperton,
Sparks,
Big Daddy Kane,
Barclay James Harvest,
Interpol,
The Offenders,
Depeche Mode,
Jacques Brel,
Television Personalities,
The Star Department,
Junior Murvin,
Sly & The Family Stone,
DJ Sneak,
The Mummies, The Mummies, The Mummies, The Mummies.
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.