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 Fiji and from London.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1977.
I'm losing my edge.
To all the kids in Portland and Stockholm.
I'm losing my edge to the art-school Woodstock 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 808 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 K-Klass to the punk 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 Franke. All the underground hits.
All Y Pants tracks. I heard you have a vinyl of every Schoolly D 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 '90s.
I hear you're buying a clarinet and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Rekid record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bluetip,
New Age Steppers,
Johnny Clarke,
Toni Rubio,
The Mojo Men,
Selector Dub Narcotic,
Unrelated Segments,
It's A Beautiful Day,
Roger Hodgson,
Howard Jones,
Radiopuhelimet,
Cal Tjader,
Pet Shop Boys,
Visage,
The Chocolate Watch Band,
DJ Sneak,
The Vogues,
Icehouse,
Goldenarms,
Marshall Jefferson,
Sixth Finger,
Roxy Music,
Tropical Tobacco,
Minor Threat,
The Evens,
Warren Ellis,
Jeff Lynne,
Judy Mowatt,
Tres Demented,
The Doobie Brothers,
The Star Department,
Sexual Harrassment,
The Stooges,
Ajijia Myrayebe,
Traffic Nightmare,
Barry Ungar,
Moby Grape,
Desert Stars,
The Leaves,
Crash Course in Science,
Shoche,
Sight & Sound,
The United States of America,
Crispy Ambulance,
Anthony Braxton,
Kevin Saunderson,
The Monochrome Set,
Buzzcocks,
The Toasters,
the Human League,
Shuggie Otis,
Thinking Fellers Union Local 282,
Eddi Front,
Joensuu 1685,
Pylon,
Fela Kuti,
Soulsonic Force,
Mandrill,
Talk Talk,
Soul Sonic Force,
Guru Guru,
Matthew Halsall, Matthew Halsall, Matthew Halsall, Matthew Halsall.
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.