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 Maldives and from Copenhagen.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Tehran and Stockholm.
I'm losing my edge to the art-school Delhi 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 synthesizer sounds with much patience.
I was there when David Bowie 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 Kings Of Tomorrow to the rap kids.
I played it at the Troubador.
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 Delon & Dalcan. All the underground hits.
All Sällskapet tracks. I heard you have a vinyl of every Fad Gadget record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a clarinet and a snare and are throwing your macbook out the window because you want to make something real. You want to make a World's Most record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Notorious Big And Bone Thugs,
Sound Behaviour,
Robert Hood,
The J.B.'s,
June Days,
The Cowsills,
Deadbeat,
Public Image Ltd.,
KRS-One,
Average White Band,
MDC,
The Barracudas,
Reuben Wilson,
Sister Nancy,
Niagra,
Little Man,
Cheater Slicks,
Ice-T,
Flash Fearless,
Wolf Eyes,
Notorious BIG live in Amsterdam,
Man Parrish,
Judy Mowatt,
Simply Red,
Rapeman,
Bluetip,
Ornette Coleman,
48th St. Collective,
Spoonie Gee,
The Star Department,
T. Rex,
Derrick May,
Lindisfarne,
Soul II Soul,
Heaven 17,
The West Coast Pop Art Experimental Band,
Au Pairs,
Country Joe & The Fish,
Oneida,
Mission of Burma,
The Names,
Kerrie Biddell,
Ponytail,
Aural Exciters,
Gregory Isaacs,
Super Lover Cee & Casanova Rud,
Ossler,
David Bowie,
Freddie Wadling,
Barry Ungar,
the Germs,
Radiopuhelimet,
Teenage Jesus and the Jerks,
Ajijia Myrayebe,
Surgeon,
Magma,
The Trojans,
Alison Limerick,
Electric Light Orchestra,
Connie Case,
John Lydon,
Dead Boys,
Todd Rundgren,
Chris & Cosey, Chris & Cosey, Chris & Cosey, Chris & Cosey.
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.