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 Fiji and from Shanghai.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Delhi and Taipei.
I'm losing my edge to the art-school Jakarta 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 Colin Newman to the grime 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 Jeru the Damaja. All the underground hits.
All The Moody Blues tracks. I heard you have a vinyl of every Mars record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Crime record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eurythmics,
Model 500,
Desert Stars,
Roxette,
Howard Jones,
Vainqueur,
Rufus Thomas,
Sly & The Family Stone,
Mad Mike,
The Moody Blues,
Rekid,
FM Einheit,
Bobbi Humphrey,
Lou Reed & John Cale,
Chrome,
Lucky Dragons,
Delta 5,
Matthew Halsall,
Jacob Miller,
The Angels of Light,
Idris Muhammad,
AZ,
X-102,
Bluetip,
The Martian,
Technova,
Reuben Wilson,
The American Breed,
Ralphi Rosario,
Dead Boys,
Gil Scott-Heron and Jamie xx,
CMW,
Fort Wilson Riot,
JFA,
Bootsy's Rubber Band,
Scientists,
Circle Jerks,
Infiniti,
Schoolly D,
Notorious Big And Bone Thugs,
Eli Mardock,
Ronnie Foster,
Pole,
Pussy Galore,
The Slackers,
ABC,
Scan 7,
Ajijia Myrayebe,
June of 44,
Peter & Gordon,
Boogie Down Productions,
Big Daddy Kane,
Rotary Connection,
The Seeds,
Soul Sonic Force,
Albert Ayler,
Buzzcocks,
Crispy Ambulance,
Half Japanese,
Grey Daturas,
The Doors,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.