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 Denmark and from Lille.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Tokyo and Woodstock.
I'm losing my edge to the art-school Houston 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 chamberlin sounds with much patience.
I was there when Nile Rodgers 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 Mo-Dettes to the funk kids.
I played it at the Hacienda.
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 Aswad. All the underground hits.
All Derrick May tracks. I heard you have a vinyl of every The Modern Lovers record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Pharaoh Sanders and the Fire Engines record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Darondo,
Jerry's Kids,
Sarah Menescal,
Skriet,
The Blackbyrds,
Sly & The Family Stone,
The Invisible,
Lizzy Mercier Descloux,
Massinfluence,
The Standells,
Pylon,
It's A Beautiful Day,
Ultra Naté,
the Germs,
Kenny Larkin,
The Saints,
The Sisters of Mercy,
Animal Collective,
Schoolly D,
Stockholm Monsters,
Magazine,
Faraquet,
Slave,
The Blues Magoos,
The Slackers,
Crispy Ambulance,
Teenage Jesus and the Jerks,
Kauko Röyhkä ja Narttu,
Heaven 17,
Derrick Morgan,
The Dead C,
Skaos,
Captain Beefheart & His Magic Band,
The Last Poets,
Robert Wyatt,
Prince Buster,
Marcia Griffiths,
Scan 7,
Rotary Connection,
The Selecter,
Cybotron,
Magma,
Fluxion,
Godley & Creme,
Drive Like Jehu,
Neil Young,
Todd Rundgren,
Symarip,
Be Bop Deluxe,
Byron Stingily,
Soft Cell,
Carl Craig,
Japan,
Harry Pussy,
Pet Shop Boys,
Sixth Finger,
Moebius,
Lungfish,
Loose Ends,
Sunsets and Hearts, Sunsets and Hearts, Sunsets and Hearts, Sunsets and Hearts.
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.