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 Cambodia and from Calgary.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Beijing and Tehran.
I'm losing my edge to the art-school Toronto 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 808 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 Fear to the crunk kids.
I played it at the Astoria.
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 Lou Reed & John Cale. All the underground hits.
All Charles Mingus tracks. I heard you have a vinyl of every Mo-Dettes 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 '60s cut and another box set from the '80s.
I hear you're buying a linndrum and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Oneida record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sight & Sound,
The Sonics,
Major Organ And The Adding Machine,
Metal Thangz,
Boogie Down Productions,
Magazine,
Albert Ayler,
U.S. Maple,
Flash Fearless,
Art Ensemble Of Chicago,
Clear Light,
Groovy Waters,
Sällskapet,
Junior Murvin,
Cybotron,
Wire,
Lindisfarne,
Ronnie Foster,
The Names,
the Normal,
The Star Department,
DeepChord presents Echospace,
The Happenings,
Bronski Beat,
Rhythim Is Rhythim,
Joe Smooth,
Section 25,
The Leaves,
Rakim,
X-Ray Spex,
The Angels of Light,
Scratch Acid,
Sound Behaviour,
Radiohead,
The West Coast Pop Art Experimental Band,
Khruangbin,
Tears for Fears,
New Age Steppers,
Eddi Front,
James Chance & The Contortions,
Lakeside,
Zero Boys,
Wolf Eyes,
Thee Headcoats,
David Axelrod,
The Searchers,
Rufus Thomas,
Parry Music,
New Order,
Röyhkä ja Rättö ja Lehtisalo,
Pharaoh Sanders and the Fire Engines,
Heaven 17,
Gichy Dan,
Josef K,
The Motions,
Arthur Verocai,
Scion,
Underground Resistance,
Joey Negro,
Organ,
Minor Threat,
The Music Machine, The Music Machine, The Music Machine, The Music Machine.
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.