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 Rwanda and from Houston.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Portland and Woodstock.
I'm losing my edge to the art-school Delhi 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 spring reverb sounds with much patience.
I was there when Holger Czukay 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 Marmalade to the techno kids.
I played it at CBGB's.
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 The Last Poets. All the underground hits.
All Jeff Lynne tracks. I heard you have a vinyl of every Skaos record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a snare and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Inner City record.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric B and Rakim,
Lindisfarne,
Robert Hood,
Blake Baxter,
The Searchers,
Absolute Body Control,
Ludus,
H. Thieme,
Steve Hackett,
Junior Murvin,
Camouflage,
John Lydon,
Panda Bear,
Alice Coltrane,
Piero Umiliani,
E-Dancer,
Minor Threat,
The Martian,
Girls At Our Best!,
Mark Hollis,
ABBA,
Siouxsie and the Banshees,
Ajijia Myrayebe,
Marcia Griffiths,
Stetsasonic,
Ultramagnetic MC's,
The Black Dice,
Roy Ayers Ubiquity,
Todd Terry,
Dark Day,
Section 25,
Tropical Tobacco,
Slick Rick,
Patti Smith,
Todd Rundgren,
Michelle Simonal,
Ossler,
Stereo Dub,
Grey Daturas,
Cecil Taylor,
The Count Five,
Red Lorry Yellow Lorry,
The Busters,
Anakelly,
Theoretical Girls,
Jawbox,
Underground Resistance,
Thinking Fellers Union Local 282,
Big Daddy Kane,
Clear Light,
Banda Bassotti,
Young Marble Giants,
The Fall,
Lizzy Mercier Descloux,
Unrelated Segments,
Slave,
Inner City,
Japan,
48th St. Collective,
The Grass Roots,
Radiohead,
DJ Sneak, DJ Sneak, DJ Sneak, DJ Sneak.
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.