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 Barbados and from Milan.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1973.
I'm losing my edge.
To all the kids in Taipei and Lyon.
I'm losing my edge to the art-school Tehran 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 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 AZ to the rap 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 Frankie Knuckles. All the underground hits.
All Connie Case tracks. I heard you have a vinyl of every Television record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Dennis Brown record.
I hear that you and your band have sold your marimba and bought a sitar.
I hear that you and your band have sold your sitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Kinks,
The Detroit Cobras,
Severed Heads,
Saccharine Trust,
Soulsonic Force,
Kango’s Stein Massive,
Gil Scott Heron,
John Lydon,
Sugar Minott,
Symarip,
Electric Light Orchestra,
Marvin Gaye,
Swans,
Wire,
Spoonie Gee,
Tubeway Army,
Nik Kershaw,
FM Einheit,
The West Coast Pop Art Experimental Band,
X-101,
Gregory Isaacs,
MC5,
Cameo,
Beasts of Bourbon,
Connie Case,
The Electric Prunes,
John Holt,
The Real Kids,
Pagans,
Agitation Free,
Crispian St. Peters,
The Cowsills,
Boredoms,
The Music Machine,
The Count Five,
Public Image Ltd.,
Judy Mowatt,
The Moleskins,
David McCallum,
The Star Department,
Scrapy,
Sun Ra,
The Peanut Butter Conspiracy,
Sly & The Family Stone,
The Blackbyrds,
Reagan Youth,
Schoolly D,
The Slackers,
Strawberry Alarm Clock,
DeepChord presents Echospace,
Scan 7,
Hardrive,
Roxette,
Ohio Players,
Sun City Girls,
Depeche Mode,
Franke,
Nirvana,
Gil Scott-Heron and Jamie xx,
Siouxsie and the Banshees,
Lyres,
Soul Sonic Force,
Minor Threat, Minor Threat, Minor Threat, Minor Threat.
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.