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 Dominican Republic and from Delhi.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Copenhagen and Edmonton.
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 chamberlin 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 Banda Bassotti to the grunge 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 Bootsy Collins. All the underground hits.
All John Lydon tracks. I heard you have a vinyl of every Essential Logic 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 '80s.
I hear you're buying a rhodes and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Wolf Eyes record.
I hear that you and your band have sold your clarinet and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pharoah Sanders,
Deepchord,
Rufus Thomas,
The Star Department,
Adolescents,
the Swans,
John Holt,
Second Layer,
The Dave Clark Five,
Scratch Acid,
The Red Krayola,
K-Klass,
Gregory Isaacs,
the Normal,
Nation of Ulysses,
The Gun Club,
Marc Almond,
Toni Rubio,
Camouflage,
Cameo,
Minor Threat,
X-101,
Eve St. Jones,
Darondo,
Strawberry Alarm Clock,
the Bar-Kays,
Parry Music,
Con Funk Shun,
Desert Stars,
Rakim,
The Seeds,
The Mighty Diamonds,
Negative Approach,
Joyce Sims,
A Certain Ratio,
Idris Muhammad,
Electric Prunes,
Lou Christie,
Main Source,
Sugar Minott,
The J.B.'s,
Chris & Cosey,
Davy DMX,
Kool G Rap & DJ Polo,
Sam Rivers,
Skriet,
Tomorrow,
Howard Jones,
Vaughan Mason & Crew,
Wally Richardson,
Graham Central Station,
The Tremeloes,
Liliput,
The Flesh Eaters,
KRS-One,
Archie Shepp,
Roxy Music,
Donny Hathaway,
Pere Ubu,
Marmalade,
Tommy Roe,
Sun City Girls, Sun City Girls, Sun City Girls, Sun City Girls.
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.