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 Lebanon and from Lille.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 Glasgow and Winnipeg.
I'm losing my edge to the art-school Lille 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 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 Joensuu 1685 to the dance kids.
I played it at Trash.
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 Bang On A Can. All the underground hits.
All Spandau Ballet tracks. I heard you have a vinyl of every Marc Romboy vs. Booka Shade record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a marimba and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a KRS-One record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Harry Pussy,
The West Coast Pop Art Experimental Band,
Sound Behaviour,
Spoonie Gee,
Spandau Ballet,
Pete Rock & C.L. Smooth,
Idris Muhammad,
The Gun Club,
Chrome,
Schoolly D,
Kaleidoscope,
Absolute Body Control,
The Standells,
Erykah Badu,
Visionaries,LMNO, T- Love & Iriscience,
The Selecter,
The Human League,
Country Joe & The Fish,
The Slits,
Alton Ellis,
Kurtis Blow,
Ash Ra Tempel,
Jerry Gold Smith,
Siouxsie and the Banshees,
The Electric Prunes,
Gabor Szabo,
Eddi Front,
10cc,
Gang Green,
Pantaleimon,
Minutemen,
Sonic Youth,
Faust,
Mars,
Anakelly,
the Swans,
Lakeside,
Reuben Wilson,
One Last Wish,
The Birthday Party,
E-Dancer,
KRS-One,
Amon Düül II,
The United States of America,
Sonny Sharrock,
Todd Rundgren,
Funkadelic,
Radiohead,
The Fall,
Gil Scott-Heron and Jamie xx,
Underground Resistance,
Minny Pops,
Whodini,
The Young Rascals,
David Axelrod,
Dave Gahan,
The Velvet Underground,
Ajijia Myrayebe,
T.S.O.L.,
Symarip,
Public Image Ltd.,
Tomorrow, Tomorrow, Tomorrow, Tomorrow.
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.