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 Samoa and from Cairo.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Hong Kong and Cairo.
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 rhodes sounds with much patience.
I was there when Michael McDonald 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 Sad Lovers and Giants to the rap 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 Byron Stingily. All the underground hits.
All Althea and Donna tracks. I heard you have a vinyl of every Terror Squad Feat. Camron record on German import.
I heard that you have a white label of every seminal grime 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 808 and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Lou Reed & John Cale record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Super Lover Cee & Casanova Rud,
Bauhaus,
Youth Brigade,
Minnie Riperton,
Spandau Ballet,
The Sisters of Mercy,
Warsaw,
June of 44,
Bobby Womack,
Arthur Verocai,
Josef K,
MC5,
Pantaleimon,
Roger Hodgson,
T.S.O.L.,
Fifty Foot Hose,
The Gladiators,
Max Romeo,
Ossler,
Mr. Review,
Lightning Bolt,
Joe Smooth,
Gerry Rafferty,
Flash Fearless,
Camberwell Now,
Chris & Cosey,
Symarip,
Sad Lovers and Giants,
Bill Near,
Curtis Mayfield,
Ludus,
Juan Atkins,
Laurel Aitken,
Nation of Ulysses,
Flamin' Groovies,
Rhythm & Sound,
Ajijia Myrayebe,
Eurythmics,
Don Cherry,
Art Ensemble Of Chicago,
Rufus Thomas,
Albert Ayler,
Scratch Acid,
Rosa Yemen,
De La Soul & Jungle Brothers,
Robert Hood,
Clear Light,
Donald Byrd,
Mars,
Lyres,
Silicon Teens,
Pharoah Sanders,
Swans,
The Seeds,
the Swans,
Ultramagnetic MC's,
Avey Tare's Slasher Flicks,
Altered Images,
ABBA,
Harry Pussy, Harry Pussy, Harry Pussy, Harry Pussy.
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.