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 Zimbabwe and from Philadelphia.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Milan and Salvador.
I'm losing my edge to the art-school Lyon 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 oboe 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 Brick to the funk kids.
I played it at the Spitz.
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 Art Ensemble Of Chicago. All the underground hits.
All Aloha Tigers tracks. I heard you have a vinyl of every Darondo 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 '80s cut and another box set from the '70s.
I hear you're buying a clarinet and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Aswad record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Happenings,
It's A Beautiful Day,
Tom Boy,
The Cramps,
Swans,
The Skatalites,
Section 25,
The Peanut Butter Conspiracy,
Siglo XX,
Outsiders,
Sex Pistols,
The J.B.'s,
Mark Hollis,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Tommy Roe,
Monks,
The Monks,
Darondo,
Hot Snakes,
Justin Hinds & The Dominoes,
Soft Cell,
The Names,
Reuben Wilson,
Silicon Teens,
Liliput,
Shoche,
Joyce Sims,
John Cale,
Vainqueur,
The Kinks,
The Cowsills,
The Detroit Cobras,
Heaven 17,
Quando Quango,
Ronnie Foster,
Soft Machine,
Flash Fearless,
Quantec,
The Modern Lovers,
Blancmange,
Ossler,
Howard Jones,
8 Eyed Spy,
Thompson Twins,
Icehouse,
Boogie Down Productions,
the Soft Cell,
Gian Franco Pienzio,
The Grass Roots,
The Techniques,
New Order,
The Chocolate Watch Band,
Public Image Ltd.,
Half Japanese,
The Blackbyrds,
Lalann,
Manfred Mann's Earth Band,
Lakeside,
Radio Birdman,
Major Organ And The Adding Machine,
Peter and Kerry,
Joy Division,
Heavy D & The Boyz,
The Zeros, The Zeros, The Zeros, The Zeros.
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.