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 Mexico and from Tehran.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Cairo and Johannesburg.
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 guitar sounds with much patience.
I was there when Robert Palmer 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 Icehouse to the dance 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 Pere Ubu. All the underground hits.
All The Fire Engines tracks. I heard you have a vinyl of every Sticky Fingaz feat. Raekwon 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 a harpsichord and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Five Americans record.
I hear that you and your band have sold your linndrum and bought a snare.
I hear that you and your band have sold your snare and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soul II Soul,
OOIOO,
Saccharine Trust,
Rowland S Howard / Lydia Lunch,
Japan,
Major Organ And The Adding Machine,
Chris & Cosey,
Eve St. Jones,
London Community Gospel Choir,
Scott Walker,
Kauko Röyhkä ja Narttu,
Chrome,
The Selecter,
Interpol,
Jawbox,
Chris Corsano,
David Bowie,
Thee Headcoats,
Urselle,
The Trojans,
Ralphi Rosario,
The Gladiators,
UT,
Bobby Hutcherson,
Barrington Levy,
Agitation Free,
Blake Baxter,
World's Most,
Piero Umiliani,
Johnny Clarke,
Yusef Lateef,
Malaria!,
Stiv Bators,
Con Funk Shun,
The Black Dice,
The Kinks,
Gian Franco Pienzio,
Minor Threat,
Sun City Girls,
Bauhaus,
Pantaleimon,
Max Romeo,
Ohio Players,
Angry Samoans,
The Star Department,
The J.B.'s,
Eden Ahbez,
Bush Tetras,
48th St. Collective,
The Evens,
Albert Ayler,
Minny Pops,
Mary Jane Girls,
Ituana,
Gregory Isaacs,
Khruangbin,
The Sound,
Cameo,
Ultra Naté,
Leonard Cohen,
The Dead C,
Bill Near,
Sexual Harrassment,
June of 44, June of 44, June of 44, June of 44.
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.