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 Cape Verde and from Mexico City.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Sao Paulo and Bremen.
I'm losing my edge to the art-school Stockholm 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 1973 at the first Television practice in a loft in New York.
I was working on the linndrum sounds with much patience.
I was there when Nile Rodgers 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 Skaos to the grime kids.
I played it at CBGB's.
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 Jerry Gold Smith. All the underground hits.
All Alice Coltrane tracks. I heard you have a vinyl of every Rapeman record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a güiro and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a ABC record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Judy Mowatt,
Sun City Girls,
Pantaleimon,
Second Layer,
Rhythim Is Rhythim,
The Cowsills,
The Flesh Eaters,
Steve Hackett,
Grauzone,
The Skatalites,
Cabaret Voltaire,
Faust,
Neu!,
Lalann,
The Pop Group,
Amon Düül II,
La Düsseldorf,
Nirvana,
Ronan,
Alphaville,
The Mighty Diamonds,
The Offenders,
The Detroit Cobras,
The Smiths,
DJ Sneak,
X-101,
Morten Harket,
Rowland S Howard / Lydia Lunch,
Maleditus Sound,
Boogie Down Productions,
The Searchers,
Black Sheep,
Ohio Players,
New Age Steppers,
Cecil Taylor,
Eric B and Rakim,
Joe Finger,
Pagans,
Art Ensemble Of Chicago,
Camouflage,
Pole,
Idris Muhammad,
Derrick May,
H. Thieme,
Boredoms,
The Fortunes,
The Golliwogs,
Index,
Organ,
The Five Americans,
London Community Gospel Choir,
Amazonics,
Sister Nancy,
Parry Music,
Oblivians,
Kevin Saunderson,
Model 500,
Pete Rock & C.L. Smooth,
The Durutti Column,
Alton Ellis,
Notorious Big And Bone Thugs,
Quando Quango, Quando Quango, Quando Quango, Quando Quango.
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.