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 Poland and from Accra.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1971.
I'm losing my edge.
To all the kids in Portland and London.
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 marimba 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 techno kids.
I played it at the 40 Watt.
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 Rhythim Is Rhythim. All the underground hits.
All Con Funk Shun tracks. I heard you have a vinyl of every Flash Fearless 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 '50s cut and another box set from the '70s.
I hear you're buying a güiro and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Interpol record.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deutsch Amerikanische Freundschaft,
cv313,
X-101,
Man Eating Sloth,
Gregory Isaacs,
Kerri Chandler,
Bobby Sherman,
Monolake,
New Age Steppers,
Saccharine Trust,
Guru Guru,
Jacob Miller,
Hot Snakes,
The Flesh Eaters,
Ultimate Spinach,
Niagra,
Marine Girls,
Moebius,
Ludus,
Barbara Tucker,
The Birthday Party,
Essential Logic,
Ash Ra Tempel,
Charles Mingus,
John Foxx,
Harmonia,
48th St. Collective,
Andrew Hill,
Oblivians,
Avey Tare,
Pierre Henry,
Panda Bear,
Black Pus,
B.T. Express,
Au Pairs,
Arthur Verocai,
Excepter,
Kool Moe Dee,
Ronnie Foster,
Lyres,
Alphaville,
Gil Scott-Heron and Jamie xx,
Visage,
T.S.O.L.,
Talk Talk,
Marcia Griffiths,
Gil Scott-Heron & Brian Jackson,
Marc Almond,
Fort Wilson Riot,
Howard Jones,
The Fuzztones,
Chris Corsano,
Brass Construction,
Sight & Sound,
The Grass Roots,
Ornette Coleman,
Surgeon,
Aural Exciters,
The Index,
ABC,
Lonnie Liston Smith, Lonnie Liston Smith, Lonnie Liston Smith, Lonnie Liston Smith.
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.