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 Mozambique and from Paris.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Toronto and Bologna.
I'm losing my edge to the art-school Manchester 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 güiro sounds with much patience.
I was there when Michael McDonald 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 Jesper Dahlback to the grime 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 Ornette Coleman. All the underground hits.
All Piero Umiliani tracks. I heard you have a vinyl of every Kurtis Blow record on German import.
I heard that you have a white label of every seminal techno 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 harpsichord and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Subhumans record.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
E-Dancer,
H. Thieme,
Rites of Spring,
Magma,
Eric Copeland,
Laurel Aitken,
Brass Construction,
Toni Rubio,
Michelle Simonal,
Nico,
Judy Mowatt,
The Kinks,
Andrew Hill,
Susan Cadogan,
The Move,
Quantec,
Neu!,
Fela Kuti,
cv313,
Terrestrial Tones,
The Music Machine,
Popol Vuh,
Anthony Braxton,
Gang of Four,
Alison Limerick,
Gang Green,
Robert Wyatt,
Cheater Slicks,
The Buckinghams,
Radio Birdman,
Richard Hell and the Voidoids,
Ajijia Myrayebe,
The Young Rascals,
Scan 7,
Wings,
Barrington Levy,
Model 500,
Tomorrow,
Country Joe & The Fish,
Josef K,
Animal Collective,
L. Decosne,
Man Eating Sloth,
Rhythim Is Rhythim,
Spandau Ballet,
Marc Almond,
Ice-T,
Bootsy's Rubber Band,
Stetsasonic,
N.O.R.E. Featuring Pharrell,
UT,
Kauko Röyhkä ja Narttu,
Marshall Jefferson,
Kool G Rap & DJ Polo,
Beasts of Bourbon,
The Skatalites,
The Modern Lovers,
Stiv Bators,
Faust,
JFA,
Johnny Osbourne,
The Pretty Things, The Pretty Things, The Pretty Things, The Pretty Things.
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.