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 Sudan and from Johannesburg.
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 1975.
I'm losing my edge.
To all the kids in Spokane and Stockholm.
I'm losing my edge to the art-school Tokyo 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the synthesizer sounds with much patience.
I was there when Robert Palmer 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 Public Image Ltd. to the crunk kids.
I played it at the 40 Watt.
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 Eve St. Jones. All the underground hits.
All Robert Hood tracks. I heard you have a vinyl of every Japan record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a theremin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Wighnomy Brothers & Robag Wruhme record.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
D'Angelo,
The Mojo Men,
Pharoah Sanders,
Wings,
Ronan,
Pantaleimon,
Shoche,
Bootsy's Rubber Band,
Desert Stars,
Siouxsie and the Banshees,
Zapp,
Justin Hinds & The Dominoes,
London Community Gospel Choir,
Kaleidoscope,
Jesper Dahlbäck,
Red Lorry Yellow Lorry,
The Music Machine,
Stockholm Monsters,
La Düsseldorf,
Mission of Burma,
The Slits,
Bobby Hutcherson,
Pharaoh Sanders and the Fire Engines,
The Cure,
Pulsallama,
Royal Trux,
Sarah Menescal,
KRS-One,
Alice Coltrane,
Eve St. Jones,
Blake Baxter,
Thompson Twins,
Mr. Review,
In Retrospect,
Pylon,
Warsaw,
Hot Snakes,
Stetsasonic,
The Trojans,
Donny Hathaway,
David Axelrod,
Richard Hell and the Voidoids,
Camron Feat. Jay Z And Juelz,
Erasure,
Sonny Sharrock,
It's A Beautiful Day,
Deutsch Amerikanische Freundschaft,
Rod Modell,
Laurel Aitken,
48th St. Collective,
Rufus Thomas,
Gregory Isaacs,
The Invisible,
Clear Light,
FM Einheit,
Public Enemy,
Rekid,
Avey Tare & Kría Brekkan,
Strawberry Alarm Clock,
Sound Behaviour,
Inner City,
David Bowie,
Charles Mingus,
Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch.
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.