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 Mauritius and from Spokane.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Cairo and Manila.
I'm losing my edge to the art-school Paris 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 spring reverb sounds with much patience.
I was there when Holger Czukay 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 The Fortunes to the disco kids.
I played it at the Roxy.
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 Darondo. All the underground hits.
All The Walker Brothers tracks. I heard you have a vinyl of every Amon Düül 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 '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Skaos record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sexual Harrassment,
Mantronix,
Wally Richardson,
Dead Boys,
Roy Ayers Ubiquity,
The Black Dice,
Freddie Wadling,
Black Pus,
Supertramp,
Japan,
Pharaoh Sanders and the Fire Engines,
Ultra Naté,
Pantytec,
LL Cool J,
Minor Threat,
Kerrie Biddell,
Stockholm Monsters,
Pussy Galore,
The Count Five,
The Kinks,
Jeff Lynne,
Depeche Mode,
Oppenheimer Analysis,
The Music Machine,
Todd Terry,
The American Breed,
Visionaries,LMNO, T- Love & Iriscience,
Warren Ellis,
Dennis Brown,
Matthew Halsall,
Flamin' Groovies,
John Cale,
The Busters,
The Seeds,
The Jesus and Mary Chain,
Jacques Brel,
Camberwell Now,
Bootsy's Rubber Band,
FM Einheit,
the Sonics,
Captain Beefheart & His Magic Band,
Radiohead,
Nick Fraelich,
The Walker Brothers,
Crispian St. Peters,
Audionom,
Electric Light Orchestra,
Amazonics,
Thompson Twins,
Michelle Simonal,
The Gun Club,
Von Mondo,
Oneida,
The Gladiators,
Con Funk Shun,
Be Bop Deluxe,
Kango’s Stein Massive,
The Durutti Column,
The Divine Comedy,
Skaos,
Bobbi Humphrey,
Tom Boy,
Ludus, Ludus, Ludus, Ludus.
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.