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 Cameroon and from Tehran.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Manila and Shanghai.
I'm losing my edge to the art-school Hong Kong 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 sitar 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 Vladislav Delay to the jazz kids.
I played it at the Troubador.
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 Can. All the underground hits.
All The Mojo Men tracks. I heard you have a vinyl of every Porter Ricks record on German import.
I heard that you have a white label of every seminal dance 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 an organ and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Johnny Clarke record.
I hear that you and your band have sold your harpsichord and bought a guitar.
I hear that you and your band have sold your guitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blake Baxter,
Joy Division,
MDC,
Magazine,
Subhumans,
Robert Wyatt,
James Chance & The Contortions,
Khruangbin,
Smog,
Boogie Down Productions,
Aural Exciters,
Scrapy,
Ituana,
Sun Ra Arkestra,
World's Most,
Brick,
Lalann,
Cal Tjader,
The Detroit Cobras,
Derrick Morgan,
Metal Thangz,
Cecil Taylor,
Sam Rivers,
Inner City,
the Slits,
Jacob Miller,
Bluetip,
Pere Ubu,
Outsiders,
The Music Machine,
The Modern Lovers,
JFA,
The Wake,
Radiohead,
The Walker Brothers,
Barclay James Harvest,
Theoretical Girls,
The Blues Magoos,
Roxette,
The Jesus and Mary Chain,
The Standells,
Accadde A,
New Age Steppers,
Dead Boys,
Kevin Saunderson,
Deadbeat,
Avey Tare,
Con Funk Shun,
Skarface,
Brand Nubian,
The Birthday Party,
Louis and Bebe Barron,
Ten City,
Joe Smooth,
Robert Hood,
Half Japanese,
Kerrie Biddell,
La Düsseldorf,
Jerry's Kids,
Maurizio,
Todd Rundgren,
T.S.O.L., T.S.O.L., T.S.O.L., T.S.O.L..
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.