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 Senegal and from Tokyo.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Sao Paulo and Philadelphia.
I'm losing my edge to the art-school Lille 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 linndrum 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 John Coltrane to the crunk kids.
I played it at Trash.
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 Massinfluence. All the underground hits.
All June Days tracks. I heard you have a vinyl of every Agent Orange 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 '80s.
I hear you're buying a snare and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arcadia,
Roxette,
10cc,
Thee Headcoats,
Inner City,
Dorothy Ashby,
Motorama,
Notorious BIG live in Amsterdam,
Charles Mingus,
Sexual Harrassment,
Joey Negro,
Lalo Schifrin,
Black Bananas,
World's Most,
Big Daddy Kane,
Ludus,
The Golliwogs,
Larry & the Blue Notes,
Public Image Ltd.,
Gang Starr,
Cecil Taylor,
Television,
Bobby Womack,
Au Pairs,
Don Cherry,
Gian Franco Pienzio,
The Associates,
Niagra,
Whodini,
Derrick May,
The Chocolate Watch Band,
Tim Buckley,
Captain Beefheart & His Magic Band,
Mars,
The Index,
The Moleskins,
Rhythm & Sound,
The Pop Group,
The Gladiators,
Kayak,
the Fania All-Stars,
Patti Smith,
Electric Light Orchestra,
Arthur Verocai,
Mo-Dettes,
the Swans,
Ten City,
The Standells,
Ralphi Rosario,
New Order,
The Beau Brummels,
Pharoah Sanders,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Knickerbockers,
Masters at Work,
Jacob Miller,
Lizzy Mercier Descloux,
Frankie Knuckles,
Jesper Dahlbäck,
Agent Orange,
Altered Images,
Delon & Dalcan,
Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock.
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.