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 Zambia and from Edmonton.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1979.
I'm losing my edge.
To all the kids in Mumbai and Bologna.
I'm losing my edge to the art-school Sao Paulo 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 marimba sounds with much patience.
I was there when Tom Verlaine 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 Tommy Roe to the jazz 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 Nirvana. All the underground hits.
All Black Pus tracks. I heard you have a vinyl of every The Mojo Men record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an organ and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Visage record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Hood,
Pole,
Amon Düül II,
The Seeds,
Cabaret Voltaire,
Easy Going,
Vainqueur,
Soul II Soul,
Jeru the Damaja,
Lightning Bolt,
Dead Boys,
DeepChord presents Echospace,
T.S.O.L.,
Al Stewart,
The West Coast Pop Art Experimental Band,
The Blackbyrds,
LL Cool J,
FM Einheit,
Sällskapet,
Maleditus Sound,
Amon Düül,
Sonny Sharrock,
Avey Tare's Slasher Flicks,
The Young Rascals,
Vaughan Mason & Crew,
Lonnie Liston Smith,
Bobby Byrd,
A Flock of Seagulls,
Japan,
The Happenings,
The Velvet Underground,
The Flesh Eaters,
Black Flag,
Alison Limerick,
John Foxx,
Grandmaster Flash,
Erasure,
Brass Construction,
Q and Not U,
Tom Boy,
Interpol,
Section 25,
the Fania All-Stars,
The Martian,
Circle Jerks,
Yazoo,
Blake Baxter,
Fluxion,
The Red Krayola,
Jacques Brel,
The Electric Prunes,
Joey Negro,
The Mummies,
D'Angelo,
The Moody Blues,
Roy Ayers,
Crime,
This Heat,
KRS-One,
The Gun Club,
Quantec,
Don Cherry,
Tim Buckley,
Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck.
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.