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 Lithuania and from Beijing.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Glasgow and New York.
I'm losing my edge to the art-school Manila 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 harpsichord sounds with much patience.
I was there when Captain Beefheart 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 Idris Muhammad to the electroclash 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 Eli Mardock. All the underground hits.
All Sexual Harrassment tracks. I heard you have a vinyl of every The Gap Band record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Magazine record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Associates,
Sonic Youth,
Art Ensemble Of Chicago,
Subhumans,
Susan Cadogan,
Panda Bear,
the Fania All-Stars,
Major Organ And The Adding Machine,
Babytalk,
Little Man,
Visionaries,LMNO, T- Love & Iriscience,
Gabor Szabo,
Tom Boy,
The Toasters,
Ponytail,
Robert Görl,
Surgeon,
Kerrie Biddell,
H. Thieme,
Harmonia,
Derrick Morgan,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Wally Richardson,
JFA,
EPMD,
John Foxx,
Jesper Dahlback,
The Golliwogs,
June Days,
Bad Manners,
World's Most,
Roxette,
Visage,
Black Bananas,
Joey Negro,
Bobbi Humphrey,
The Alarm Clocks,
Icehouse,
Siglo XX,
The Leaves,
Minutemen,
Fifty Foot Hose,
Rod Modell,
The Vogues,
The Dead C,
Connie Case,
Bootsy Collins,
Hoover,
Barrington Levy,
R.M.O.,
Super Lover Cee & Casanova Rud,
Rufus Thomas,
Sunsets and Hearts,
Gary Puckett & The Union Gap,
The Real Kids,
Sandy B,
Popol Vuh,
Gil Scott Heron,
The Count Five,
The Litter,
Orchestral Manoeuvres in the Dark,
Michelle Simonal,
June of 44, June of 44, June of 44, June of 44.
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.