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 Sri Lanka and from Delhi.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Manila and Lagos.
I'm losing my edge to the art-school Tokyo 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the synthesizer 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 Charles Mingus to the dance kids.
I played it at the Roxy.
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 Lower 48. All the underground hits.
All Ponytail tracks. I heard you have a vinyl of every the Germs record on German import.
I heard that you have a white label of every seminal rock 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 linndrum and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Neil Young record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
CMW,
Scion,
Roy Ayers Ubiquity,
Oppenheimer Analysis,
Erykah Badu,
Juan Atkins,
Ajijia Myrayebe,
Ice-T,
Be Bop Deluxe,
Derrick May,
Kayak,
Selector Dub Narcotic,
Country Joe & The Fish,
Harmonia,
ABC,
The American Breed,
Lonnie Liston Smith,
London Community Gospel Choir,
Johnny Clarke,
The Star Department,
Soft Cell,
10cc,
Eurythmics,
Bobby Byrd,
Electric Light Orchestra,
R.M.O.,
Frankie Knuckles,
John Holt,
The Move,
Siouxsie and the Banshees,
Massinfluence,
Peter Gordon & Love of Life Orchestra,
Brass Construction,
Shoche,
Ponytail,
Tim Buckley,
Bobby Hutcherson,
Subhumans,
Anthony Braxton,
Lyres,
a-ha,
Stiv Bators,
The Leaves,
Toni Rubio,
Tubeway Army,
Harry Pussy,
Rod Modell,
Skriet,
Tomorrow,
The Sisters of Mercy,
Fatback Band,
Steve Hackett,
Davy DMX,
Public Image Ltd.,
Fort Wilson Riot,
The Blackbyrds,
Gian Franco Pienzio,
Ralphi Rosario,
Sly & The Family Stone,
the Swans,
Joey Negro,
Chrome,
Talk Talk, Talk Talk, Talk Talk, Talk Talk.
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.