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 Korea North and from Beijing.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Delhi and Glasgow.
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 synthesizer 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 techno kids.
I played it at the Hacienda.
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 Rakim. All the underground hits.
All Black Moon tracks. I heard you have a vinyl of every Massinfluence record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Fort Wilson Riot record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Godley & Creme,
LL Cool J,
Supertramp,
The Star Department,
The Human League,
Sticky Fingaz feat. Raekwon,
Sun Ra,
Rahsaan Roland Kirk,
Brothers Johnson,
Camron Feat. Memphis Bleek And Beenie Seigel,
Cal Tjader,
Alison Limerick,
Simply Red,
The Offenders,
Flipper,
Barclay James Harvest,
New York Dolls,
Pagans,
The Jesus and Mary Chain,
New Age Steppers,
Orchestral Manoeuvres in the Dark,
Scott Walker,
Kerrie Biddell,
These Immortal Souls,
Avey Tare's Slasher Flicks,
Cybotron,
Magma,
The Music Machine,
Guru Guru,
Janne Schatter,
Kool G Rap & DJ Polo,
Rotary Connection,
Thompson Twins,
Depeche Mode,
Roxy Music,
Robert Görl,
Matthew Halsall,
Joey Negro,
Glenn Branca,
Funky Four + One,
DNA,
Subhumans,
Black Flag,
The Dead C,
Fatback Band,
The Fall,
Buzzcocks,
Q65,
The Busters,
Jerry's Kids,
Idris Muhammad,
Surgeon,
Theoretical Girls,
Roy Ayers,
Half Japanese,
Harry Pussy,
China Crisis,
Vladislav Delay,
Sugar Minott,
Tim Buckley,
Piero Umiliani,
Mad Mike,
Lou Reed & John Cale,
The Blackbyrds,
Crispy Ambulance, Crispy Ambulance, Crispy Ambulance, Crispy Ambulance.
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.