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 Ethiopia and from Paris.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1979.
I'm losing my edge.
To all the kids in Cairo and Toronto.
I'm losing my edge to the art-school London 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 theremin 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 Black Sheep to the jazz 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 Erykah Badu. All the underground hits.
All Iggy Pop tracks. I heard you have a vinyl of every Yazoo record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a sitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Junior Murvin record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
London Community Gospel Choir,
Siouxsie and the Banshees,
Dorothy Ashby,
Ponytail,
Nas,
Matthew Halsall,
Idris Muhammad,
These Immortal Souls,
The Gladiators,
Funkadelic,
Quantec,
Jeff Lynne,
Warsaw,
Max Romeo,
X-Ray Spex,
Royal Trux,
KRS-One,
Rod Modell,
Derrick Morgan,
Alton Ellis,
Mo-Dettes,
Thompson Twins,
Urselle,
Minor Threat,
Grey Daturas,
Ultravox,
Rakim,
Bobby Womack,
Avey Tare's Slasher Flicks,
Kaleidoscope,
Swell Maps,
Ice-T,
Ultra Naté,
Japan,
Selector Dub Narcotic,
Pylon,
June of 44,
Jandek,
The Music Machine,
Bad Manners,
Sound Behaviour,
Be Bop Deluxe,
Newcleus,
The Sonics,
the Bar-Kays,
The Red Krayola,
Skriet,
June Days,
Babytalk,
The Shadows of Knight,
Ohio Players,
Mission of Burma,
48th St. Collective,
Morten Harket,
Sixth Finger,
The Wake,
The Vogues,
Trumans Water,
Super Lover Cee & Casanova Rud,
Thinking Fellers Union Local 282,
Man Eating Sloth,
Faraquet,
UT, UT, UT, UT.
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.