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 Grenada and from Copenhagen.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1970.
I'm losing my edge.
To all the kids in Glasgow and Spokane.
I'm losing my edge to the art-school Manila 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 arpeggiator sounds with much patience.
I was there when Nile Rodgers 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 Tom Boy to the disco 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 Neil Young. All the underground hits.
All David Axelrod tracks. I heard you have a vinyl of every Camouflage 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 '70s cut and another box set from the '70s.
I hear you're buying a synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Nation of Ulysses 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?
Roxy Music,
Magazine,
The Associates,
Donald Byrd,
Livin' Joy,
Peter and Kerry,
Vaughan Mason & Crew,
Wighnomy Brothers & Robag Wruhme,
Icehouse,
Darondo,
Severed Heads,
Angry Samoans,
Bill Near,
Stetsasonic,
Glambeats Corp.,
Symarip,
Gregory Isaacs,
The Toasters,
Davy DMX,
LL Cool J,
Urselle,
The Jesus and Mary Chain,
Michelle Simonal,
Joensuu 1685,
Cheater Slicks,
Harpers Bizarre,
Saccharine Trust,
Crispy Ambulance,
Agent Orange,
Avey Tare & Kría Brekkan,
The Five Americans,
Scrapy,
Q65,
Country Joe & The Fish,
Von Mondo,
Ultramagnetic MC's,
Aural Exciters,
The Golliwogs,
Derrick May,
The Motions,
ABC,
X-101,
Black Flag,
Yazoo,
Groovy Waters,
Cal Tjader,
Mandrill,
Subhumans,
The Flesh Eaters,
Index,
The Gap Band,
The Selecter,
The Chocolate Watch Band,
The Birthday Party,
Masters at Work,
Sun Ra Arkestra,
Television,
Tom Boy,
Underground Resistance,
Lou Christie,
Ponytail,
Mary Jane Girls,
Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo.
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.