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 Lesotho and from Delhi.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Seoul and Edmonton.
I'm losing my edge to the art-school Copenhagen 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 Captain Beefheart 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 Masters at Work to the grunge 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 Lebanon Hanover. All the underground hits.
All Cabaret Voltaire tracks. I heard you have a vinyl of every Hashim 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 '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Robert Wyatt record.
I hear that you and your band have sold your guitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siouxsie and the Banshees,
Marcia Griffiths,
Q and Not U,
Althea and Donna,
Lightning Bolt,
X-Ray Spex,
Brick,
The Divine Comedy,
Bobby Hutcherson,
Pulsallama,
The Last Poets,
the Soft Cell,
Deadbeat,
The Birthday Party,
Schoolly D,
Parry Music,
Sun Ra,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Litter,
Das Ding,
Barbara Tucker,
Godley & Creme,
Dark Day,
Be Bop Deluxe,
Circle Jerks,
Eddi Front,
Lou Reed & John Cale,
Spoonie Gee,
Kenny Larkin,
Johnny Clarke,
Swans,
Amazonics,
The Smoke,
Bauhaus,
Nick Fraelich,
Adolescents,
Piero Umiliani,
Neil Young & Crazy Horse,
X-101,
The Vogues,
Nico,
Fela Kuti,
Jacques Brel,
Justin Hinds & The Dominoes,
Terrestrial Tones,
Angry Samoans,
Terror Squad Feat. Camron,
Cybotron,
New Order,
Soft Machine,
Bobby Byrd,
Cymande,
Ohio Players,
Visage,
Slick Rick,
The Velvet Underground,
The Victims,
Nation of Ulysses,
Livin' Joy,
Pharaoh Sanders and the Fire Engines,
Shuggie Otis,
Teenage Jesus and the Jerks,
Vladislav Delay, Vladislav Delay, Vladislav Delay, Vladislav Delay.
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.