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 Guinea and from Tehran.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Spokane and Lyon.
I'm losing my edge to the art-school Paris 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 chamberlin sounds with much patience.
I was there when Robert Palmer 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 Television Personalities to the funk kids.
I played it at the Crocodile.
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 Fatback Band. All the underground hits.
All New York Dolls tracks. I heard you have a vinyl of every James White and The Blacks record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a X-101 record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sex Pistols,
Gil Scott-Heron & Brian Jackson,
Warren Ellis,
Juan Atkins,
Rowland S Howard / Lydia Lunch,
Blancmange,
Nick Cave & The Bad Seeds,
Alison Limerick,
Delta 5,
Alice Coltrane,
Roxette,
Vaughan Mason & Crew,
Crash Course in Science,
Gichy Dan,
Cymande,
The Cosmic Jokers,
Audionom,
Bill Near,
The Vogues,
Sun Ra,
Johnny Osbourne,
Sugar Minott,
Archie Shepp,
PIL,
Donald Byrd,
Lakeside,
MC5,
Quantec,
The Pretty Things,
Oppenheimer Analysis,
John Foxx,
Be Bop Deluxe,
Shoche,
a-ha,
Dawn Penn,
the Soft Cell,
Quadrant,
Fat Boys,
The Five Americans,
David McCallum,
Bobbi Humphrey,
Mandrill,
Pulsallama,
Youth Brigade,
Dark Day,
Technova,
The Doobie Brothers,
Sixth Finger,
Jacob Miller,
Ash Ra Tempel,
The Angels of Light,
Trumans Water,
Sällskapet,
Vainqueur,
Yaz,
Traffic Nightmare,
Lower 48,
Peter & Gordon,
Zapp,
Pylon,
Rapeman, Rapeman, Rapeman, Rapeman.
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.