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 Barbados and from Copenhagen.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1978.
I'm losing my edge.
To all the kids in Paris and Philadelphia.
I'm losing my edge to the art-school Bremen 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 harpsichord 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 The Vogues to the crunk 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 Schoolly D. All the underground hits.
All Rapeman tracks. I heard you have a vinyl of every Charles Mingus 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 '70s cut and another box set from the '90s.
I hear you're buying a harpsichord and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Gang Gang Dance record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Leaves,
Brick,
Sarah Menescal,
Visionaries,LMNO, T- Love & Iriscience,
Moss Icon,
The Happenings,
James Chance & The Contortions,
Theoretical Girls,
The Birthday Party,
Robert Görl,
8 Eyed Spy,
Toni Rubio,
Delon & Dalcan,
Chris Corsano,
The Remains,
Kaleidoscope,
Khruangbin,
Kerri Chandler,
Thinking Fellers Union Local 282,
Gil Scott Heron,
Neil Young,
Traffic Nightmare,
The Smiths,
Heavy D & The Boyz,
Andrew Ashong & Theo Parrish,
Yusef Lateef,
Sun Ra Arkestra,
Bill Near,
Roy Ayers Ubiquity,
EPMD,
Shuggie Otis,
Peter Gordon & Love of Life Orchestra,
Mars,
Juan Atkins,
Prince Buster,
kango's stein massive,
The Mojo Men,
Thompson Twins,
Rufus Thomas,
DJ Sneak,
Kas Product,
Bobby Byrd,
Average White Band,
Dorothy Ashby,
Lungfish,
Marmalade,
Lou Reed & John Cale,
Avey Tare,
Dawn Penn,
Dual Sessions,
The Gap Band,
Magazine,
The Pop Group,
Todd Rundgren,
Albert Ayler,
X-102,
Boogie Down Productions,
Zapp,
Crash Course in Science,
Isaac Hayes,
Avey Tare's Slasher Flicks,
Kings Of Tomorrow,
Gang Green, Gang Green, Gang Green, Gang Green.
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.