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 Solomon Islands and from Houston.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Tehran and Bremen.
I'm losing my edge to the art-school Calgary 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 arpeggiator 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 Skarface to the punk kids.
I played it at the Crocodile.
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 Audionom. All the underground hits.
All Index tracks. I heard you have a vinyl of every Wire record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a 10cc record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Franke,
Terry Callier,
Brand Nubian,
Don Cherry,
Siouxsie and the Banshees,
The Tremeloes,
Black Bananas,
Sun Ra Arkestra,
Inner City,
Fat Boys,
Barry Ungar,
The Wake,
Marc Romboy vs. Booka Shade,
Kurtis Blow,
B.T. Express,
Royal Trux,
Alice Coltrane,
Organ,
Frankie Knuckles,
Marine Girls,
Minnie Riperton,
Sällskapet,
Althea and Donna,
Massinfluence,
Art Ensemble Of Chicago,
Hasil Adkins,
Bill Near,
Lyres,
New Age Steppers,
PIL,
The Grass Roots,
Kas Product,
Subhumans,
Scratch Acid,
Peter & Gordon,
Johnny Clarke,
The Invisible,
Half Japanese,
Metal Thangz,
Teenage Jesus and the Jerks,
Rites of Spring,
The Beau Brummels,
Ohio Players,
Boredoms,
Maurizio,
The Dead C,
Letta Mbulu,
the Fania All-Stars,
Minor Threat,
James White and The Blacks,
Mr. Review,
The Doors,
Eric B and Rakim,
Con Funk Shun,
Gabor Szabo,
The Seeds,
48th St. Collective,
Chrome,
Oppenheimer Analysis,
F. McDonald,
Mad Mike,
Yazoo, Yazoo, Yazoo, Yazoo.
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.