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 Cape Verde and from Copenhagen.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Beijing and Mexico City.
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 chamberlin 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 Agent Orange to the crunk kids.
I played it at the Astoria.
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 Harpers Bizarre. All the underground hits.
All Marshall Jefferson tracks. I heard you have a vinyl of every Lucky Dragons record on German import.
I heard that you have a white label of every seminal disco 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 harpsichord and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Moebius record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
A Flock of Seagulls,
Aswad,
Parry Music,
June Days,
John Cale,
The Associates,
This Heat,
The Residents,
Bootsy's Rubber Band,
Harpers Bizarre,
Urselle,
DNA,
Gang Green,
Ludus,
The Royal Family And The Poor,
Warren Ellis,
Nirvana,
The Moleskins,
Peter Gordon & Love of Life Orchestra,
Maurizio,
ABBA,
The Happenings,
Visage,
Loose Ends,
Bobby Womack,
Avey Tare's Slasher Flicks,
Aloha Tigers,
Steve Hackett,
Rowland S Howard / Lydia Lunch,
Grandmaster Flash and the Furious Five,
Al Stewart,
Animal Collective,
Be Bop Deluxe,
F. McDonald,
Magazine,
Electric Prunes,
UT,
Chris & Cosey,
The Fortunes,
Sly & The Family Stone,
Sound Behaviour,
Kas Product,
Black Bananas,
Eric Dolphy,
In Retrospect,
Siouxsie and the Banshees,
EPMD,
Scratch Acid,
Lightning Bolt,
Pole,
Selector Dub Narcotic,
MDC,
The Walker Brothers,
The Fugs,
Eli Mardock,
Lalo Schifrin,
Piero Umiliani,
The Dirtbombs,
Camron Feat. Memphis Bleek And Beenie Seigel,
Boz Scaggs,
Alton Ellis, Alton Ellis, Alton Ellis, Alton Ellis.
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.