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 Thailand and from London.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Woodstock and Lyon.
I'm losing my edge to the art-school Halifax 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 808 sounds with much patience.
I was there when Captain Beefheart 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 KRS-One to the crunk kids.
I played it at the Crocodile.
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 Sam Rivers. All the underground hits.
All Sight & Sound tracks. I heard you have a vinyl of every Quadrant record on German import.
I heard that you have a white label of every seminal crunk 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 güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Stockholm Monsters record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Teenage Jesus and the Jerks,
A Certain Ratio,
Gong,
U.S. Maple,
Bobby Byrd,
Main Source,
The Dead C,
Public Image Ltd.,
Sight & Sound,
Desert Stars,
Cabaret Voltaire,
Avey Tare's Slasher Flicks,
James White and The Blacks,
Moebius,
The Slackers,
The Count Five,
UT,
D'Angelo,
Lindisfarne,
The Seeds,
Hot Snakes,
The Monochrome Set,
X-101,
The Fuzztones,
Radio Birdman,
Basic Channel,
Connie Case,
Liaisons Dangereuses,
Patti Smith,
Johnny Osbourne,
Urselle,
Lalann,
Joy Division,
Liliput,
Flipper,
Bobby Sherman,
Aaron Thompson,
Ultimate Spinach,
Alton Ellis,
Young Marble Giants,
Harpers Bizarre,
Mary Jane Girls,
X-102,
Bang On A Can,
Das Ding,
Flamin' Groovies,
Beasts of Bourbon,
Pagans,
The Black Dice,
Duran Duran,
Bootsy Collins,
Mo-Dettes,
Fifty Foot Hose,
PIL,
Drexciya,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Soft Machine,
Hoover,
Bang on a Can All-Stars,
Lakeside,
Kool Moe Dee,
Lower 48,
Cybotron, Cybotron, Cybotron, Cybotron.
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.