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 Philippines and from Beijing.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1967 to 1972.
I'm losing my edge.
To all the kids in Stockholm and Milan.
I'm losing my edge to the art-school Madrid 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 synthesizer 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 Richard Hell and the Voidoids to the techno 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 The Fugs. All the underground hits.
All Sam Rivers tracks. I heard you have a vinyl of every Fugazi 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 '90s.
I hear you're buying a güiro and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Sister Nancy record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pantaleimon,
Stetsasonic,
Heaven 17,
The Jesus and Mary Chain,
Sonic Youth,
The Dirtbombs,
Peter and Kerry,
Eden Ahbez,
Camberwell Now,
The Sonics,
Anthony Braxton,
Red Lorry Yellow Lorry,
The Fuzztones,
KRS-One,
The J.B.'s,
Can,
Glambeats Corp.,
Frankie Knuckles,
The Golliwogs,
The Smoke,
Wighnomy Brothers & Robag Wruhme,
Sandy B,
Magazine,
The Pop Group,
Section 25,
Richard Hell and the Voidoids,
Vaughan Mason & Crew,
Teenage Jesus and the Jerks,
Bush Tetras,
The Electric Prunes,
David McCallum,
Little Man,
Deadbeat,
Nik Kershaw,
Amazonics,
Max Romeo,
Black Sheep,
The Seeds,
Pierre Henry,
Amon Düül II,
10cc,
Marine Girls,
R.M.O.,
Crooked Eye,
The Music Machine,
X-102,
MC5,
In Retrospect,
The Doors,
The New Christs,
Hashim,
Junior Murvin,
Faust,
The Sisters of Mercy,
Lalo Schifrin,
Guru Guru,
Dawn Penn,
Idris Muhammad,
The Flesh Eaters,
Marcia Griffiths,
the Bar-Kays,
Don Cherry, Don Cherry, Don Cherry, Don Cherry.
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.