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 Seoul.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Manila and Cairo.
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 organ sounds with much patience.
I was there when Lou Reed 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 CMW to the rap kids.
I played it at the Astoria.
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 Brass Construction. All the underground hits.
All Faust tracks. I heard you have a vinyl of every Robert Hood record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a DJ Style record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Massinfluence,
The Invisible,
Excepter,
Dual Sessions,
The Dirtbombs,
Neil Young & Crazy Horse,
Agent Orange,
Isaac Hayes,
The Tremeloes,
Black Bananas,
Au Pairs,
Das Ding,
Judy Mowatt,
Masters at Work,
Marshall Jefferson,
Sun Ra,
Tim Buckley,
John Holt,
Brick,
Bauhaus,
Ajijia Myrayebe,
Model 500,
Outsiders,
Quantec,
The Dave Clark Five,
Scratch Acid,
B.T. Express,
Blancmange,
A Flock of Seagulls,
The Move,
Cecil Taylor,
Josef K,
Wasted Youth,
Michelle Simonal,
Q and Not U,
Agitation Free,
The Litter,
Echospace,
Skriet,
Byron Stingily,
Althea and Donna,
Audionom,
Ten City,
The Divine Comedy,
Scott Walker,
Fear,
Lizzy Mercier Descloux,
Orchestral Manoeuvres in the Dark,
Bad Manners,
F. McDonald,
Kauko Röyhkä ja Narttu,
Warren Ellis,
Stereo Dub,
Qualms,
Accadde A,
Icehouse,
EPMD,
PIL,
The Raincoats,
Infiniti,
Pylon,
Fort Wilson Riot,
the Bar-Kays,
Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth.
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.