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 Ghana and from Mumbai.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Cairo and Johannesburg.
I'm losing my edge to the art-school Edmonton 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 808 sounds with much patience.
I was there when Donald Fagen 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 Liaisons Dangereuses to the dance kids.
I played it at the Roxy.
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 Pylon. All the underground hits.
All Josef K tracks. I heard you have a vinyl of every Inner City 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 '50s cut and another box set from the '70s.
I hear you're buying an oboe and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Eric B and Rakim record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flash Fearless,
Bobbi Humphrey,
Lou Christie,
Matthew Halsall,
The Electric Prunes,
H. Thieme,
The Standells,
Ultra Naté,
Hardrive,
K-Klass,
Mr. Review,
Erasure,
The Searchers,
Sticky Fingaz feat. Raekwon,
Johnny Osbourne,
Art Ensemble Of Chicago,
the Bar-Kays,
48th St. Collective,
Amon Düül,
The Mojo Men,
Chris Corsano,
Marvin Gaye,
The Pop Group,
Isaac Hayes,
B.T. Express,
The Shadows of Knight,
Crash Course in Science,
China Crisis,
Kaleidoscope,
Faust,
It's A Beautiful Day,
Animal Collective,
Thee Headcoats,
The Mighty Diamonds,
Nation of Ulysses,
Amazonics,
The Techniques,
Dead Boys,
Tomorrow,
The Monochrome Set,
MC5,
Crispian St. Peters,
Barclay James Harvest,
Boredoms,
Bush Tetras,
Aloha Tigers,
Cheater Slicks,
The Real Kids,
Brick,
Bill Near,
Joensuu 1685,
Fugazi,
The Evens,
Cal Tjader,
The Men They Couldn't Hang,
Lizzy Mercier Descloux,
The Doors,
Peter & Gordon,
Sällskapet, Sällskapet, Sällskapet, Sällskapet.
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.