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 Syria and from Columbus.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 Houston and Taipei.
I'm losing my edge to the art-school Seoul 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 theremin 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 Amazonics to the jazz kids.
I played it at Cafe Wha.
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 The Happenings. All the underground hits.
All EPMD tracks. I heard you have a vinyl of every London Community Gospel Choir record on German import.
I heard that you have a white label of every seminal grunge 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 güiro and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Marshall Jefferson record.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DNA,
Arab on Radar,
Ituana,
Animal Collective,
The Selecter,
Eddi Front,
Clear Light,
Youth Brigade,
Siglo XX,
Ornette Coleman,
Monolake,
Sparks,
Heavy D & The Boyz,
Television,
Surgeon,
Ronnie Foster,
Alison Limerick,
Ultra Naté,
DJ Sneak,
Wasted Youth,
The Moleskins,
Laurel Aitken,
Kings Of Tomorrow,
Excepter,
Cabaret Voltaire,
Soft Cell,
Negative Approach,
Glenn Branca,
MC5,
Main Source,
Sight & Sound,
Jerry's Kids,
Newcleus,
Nils Olav,
Babytalk,
Peter Gordon & Love of Life Orchestra,
Moebius,
JFA,
Mr. Review,
Sandy B,
Kool G Rap & DJ Polo,
Crispy Ambulance,
Bizarre Inc.,
Von Mondo,
One Last Wish,
Sonic Youth,
Terrestrial Tones,
Nirvana,
Livin' Joy,
Ken Boothe,
The Doobie Brothers,
Thinking Fellers Union Local 282,
Avey Tare's Slasher Flicks,
Massinfluence,
Ultimate Spinach,
Warsaw,
the Slits,
Ohio Players,
James White and The Blacks, James White and The Blacks, James White and The Blacks, James White and The Blacks.
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.