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 United Kingdom and from Manila.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Lille and Shanghai.
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 marimba 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 N.O.R.E. Featuring Pharrell to the electroclash 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 Angry Samoans. All the underground hits.
All Robert Görl tracks. I heard you have a vinyl of every James Chance & The Contortions record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Sight & Sound record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mo-Dettes,
These Immortal Souls,
Ultramagnetic MC's,
Letta Mbulu,
Eddi Front,
Liaisons Dangereuses,
Pantytec,
EPMD,
Public Image Ltd.,
Lonnie Liston Smith,
The Moleskins,
Bootsy Collins,
Unrelated Segments,
The Monks,
The Birthday Party,
Albert Ayler,
The Pretty Things,
Stetsasonic,
The Last Poets,
Traffic Nightmare,
X-101,
Gang Green,
Eurythmics,
Sun Ra Arkestra,
June of 44,
AZ,
cv313,
Quadrant,
David Bowie,
Warren Ellis,
Massinfluence,
Rod Modell,
John Cale,
Barrington Levy,
Joe Smooth,
Newcleus,
Spoonie Gee,
Fat Boys,
Orchestral Manoeuvres in the Dark,
Amon Düül,
Susan Cadogan,
Pete Rock & C.L. Smooth,
Minutemen,
Laurel Aitken,
Sun City Girls,
Lou Christie,
Pulsallama,
The Doors,
Kas Product,
Max Romeo,
8 Eyed Spy,
Cybotron,
Alphaville,
Avey Tare,
The Dead C,
Schoolly D,
Big Daddy Kane,
The Walker Brothers,
Charles Mingus,
Thee Headcoats,
Maleditus Sound,
Bluetip,
Connie Case,
The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band.
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.