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 Laos and from Tehran.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Jakarta and Mexico City.
I'm losing my edge to the art-school Stockholm 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 harpsichord 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 Rhythim Is Rhythim to the punk kids.
I played it at the Hacienda.
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 Dual Sessions. All the underground hits.
All The Techniques tracks. I heard you have a vinyl of every Yusef Lateef record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a theremin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Gang Green 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?
The Kinks,
Connie Case,
In Retrospect,
OOIOO,
Brand Nubian,
the Association,
Jimmy McGriff,
the Fania All-Stars,
Von Mondo,
Warsaw,
June Days,
Angels of Light & Akron/Family,
Kool G Rap & DJ Polo,
kango's stein massive,
Art Ensemble Of Chicago,
Thee Headcoats,
Outsiders,
The Motions,
Unwound,
Graham Central Station,
The Gladiators,
Henry Cow,
The Selecter,
the Bar-Kays,
Clear Light,
UT,
Cameo,
Sandy B,
Teenage Jesus and the Jerks,
L. Decosne,
Das Ding,
Glenn Branca,
Thompson Twins,
Banda Bassotti,
La Düsseldorf,
Duran Duran,
The Fortunes,
Heavy D & The Boyz,
Whodini,
Avey Tare,
A Flock of Seagulls,
Erasure,
Jesper Dahlbäck,
Max Romeo,
Brick,
The Human League,
The Doobie Brothers,
FM Einheit,
Subhumans,
One Last Wish,
Bang on a Can All-Stars,
Hashim,
Sonny Sharrock,
This Heat,
Los Fastidios,
The Music Machine,
The Dirtbombs,
Kaleidoscope,
The Associates,
Kerrie Biddell,
David Axelrod,
Interpol,
Animal Collective,
Reuben Wilson,
Deakin, Deakin, Deakin, Deakin.
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.