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 Latvia and from Cairo.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Copenhagen and Spokane.
I'm losing my edge to the art-school Lagos 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the rhodes sounds with much patience.
I was there when Robert Palmer 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 Sandy B to the electroclash kids.
I played it at the 40 Watt.
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 Ralphi Rosario. All the underground hits.
All Janne Schatter tracks. I heard you have a vinyl of every Donald Byrd 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 '90s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Peter & Gordon record.
I hear that you and your band have sold your marimba and bought a snare.
I hear that you and your band have sold your snare and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Electric Light Orchestra,
KRS-One,
China Crisis,
Funky Four + One,
Fat Boys,
Heaven 17,
Das Ding,
Black Bananas,
Byron Stingily,
Nick Fraelich,
The West Coast Pop Art Experimental Band,
The Five Americans,
Drexciya,
Angels of Light & Akron/Family,
Maleditus Sound,
Jacques Brel,
The Doobie Brothers,
Maurizio,
Fort Wilson Riot,
Big Daddy Kane,
Eyeless In Gaza,
Morten Harket,
Sparks,
Goldenarms,
L. Decosne,
Accadde A,
New York Dolls,
Khruangbin,
Soul Sonic Force,
De La Soul & Jungle Brothers,
H. Thieme,
Ultramagnetic MC's,
The Zeros,
Rowland S Howard / Lydia Lunch,
The Alarm Clocks,
The Dead C,
Marine Girls,
The Offenders,
The Red Krayola,
Nirvana,
Eli Mardock,
the Sonics,
Warren Ellis,
Gang of Four,
Kerrie Biddell,
Sonic Youth,
Freddie Wadling,
K-Klass,
48th St. Collective,
Idris Muhammad,
Bizarre Inc.,
Harry Pussy,
Notorious BIG live in Amsterdam,
Mantronix,
The Pretty Things,
Louis and Bebe Barron,
Gang Gang Dance,
Rites of Spring,
Main Source,
Average White Band,
Q and Not U,
Mars,
Notorious Big And Bone Thugs, Notorious Big And Bone Thugs, Notorious Big And Bone Thugs, Notorious Big And Bone Thugs.
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.