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 Gabon and from Toronto.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Delhi and Madrid.
I'm losing my edge to the art-school Tokyo 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 sitar 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 LL Cool J to the rap 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 Pantaleimon. All the underground hits.
All The Techniques tracks. I heard you have a vinyl of every Young Marble Giants record on German import.
I heard that you have a white label of every seminal electroclash 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 theremin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a a-ha record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cabaret Voltaire,
Outsiders,
Agent Orange,
Steve Hackett,
Lonnie Liston Smith,
Shoche,
De La Soul & Jungle Brothers,
Fat Boys,
Marcia Griffiths,
Gastr Del Sol,
The Gories,
Delon & Dalcan,
Khruangbin,
Rekid,
Kenny Larkin,
Nation of Ulysses,
ABC,
LL Cool J,
The Searchers,
JFA,
Bobby Womack,
Wolf Eyes,
The Associates,
The Knickerbockers,
D'Angelo,
Jandek,
Roy Ayers Ubiquity,
Slick Rick,
Jimmy McGriff,
Bauhaus,
Mark Hollis,
Negative Approach,
the Bar-Kays,
Zero Boys,
Junior Murvin,
Judy Mowatt,
Siouxsie and the Banshees,
Morten Harket,
Nick Cave & The Bad Seeds,
Flipper,
Crooked Eye,
The United States of America,
Alton Ellis,
Susan Cadogan,
Pantaleimon,
Deutsch Amerikanische Freundschaft,
Toni Rubio,
the Human League,
Terror Squad Feat. Camron,
Mary Jane Girls,
Unrelated Segments,
Kevin Saunderson,
Sight & Sound,
Animal Collective,
Von Mondo,
Television,
Fugazi,
Aswad,
Dead Boys,
Rufus Thomas, Rufus Thomas, Rufus Thomas, Rufus Thomas.
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.