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 Uzbekistan and from Hong Kong.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1977.
I'm losing my edge.
To all the kids in Tokyo and Beijing.
I'm losing my edge to the art-school New York 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 rhodes sounds with much patience.
I was there when Lou Reed 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 Ornette Coleman 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 DNA. All the underground hits.
All The Skatalites tracks. I heard you have a vinyl of every Judy Mowatt 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 '90s.
I hear you're buying an oboe and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Scratch Acid record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blake Baxter,
Chris & Cosey,
Vaughan Mason & Crew,
Parry Music,
Peter and Kerry,
Los Fastidios,
Adolescents,
The Jesus and Mary Chain,
Nas,
Supertramp,
Dark Day,
Gabor Szabo,
The Zeros,
Smog,
Quando Quango,
Neil Young & Crazy Horse,
Deepchord,
PIL,
Ajijia Myrayebe,
Barbara Tucker,
Kurtis Blow,
The Divine Comedy,
Swans,
Reagan Youth,
London Community Gospel Choir,
Matthew Bourne,
The Tremeloes,
Thompson Twins,
Patti Smith,
Al Stewart,
Marc Almond,
cv313,
Country Teasers,
The Dirtbombs,
Clear Light,
The West Coast Pop Art Experimental Band,
Mary Jane Girls,
The Raincoats,
Sexual Harrassment,
Organ,
The Five Americans,
Sandy B,
Sällskapet,
Grandmaster Flash and the Furious Five,
Scott Walker,
The Residents,
The Moody Blues,
R.M.O.,
Donald Byrd,
Easy Going,
Porter Ricks,
The Count Five,
Heavy D & The Boyz,
Marvin Gaye,
Desert Stars,
Crime,
Ultimate Spinach,
Outsiders,
The Peanut Butter Conspiracy,
the Germs,
Spandau Ballet,
Arthur Verocai,
MC5, MC5, MC5, MC5.
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.