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 Zambia and from London.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Bremen and Lyon.
I'm losing my edge to the art-school Houston 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 linndrum sounds with much patience.
I was there when Tom Verlaine 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 Ronnie Foster to the funk 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 Traffic Nightmare. All the underground hits.
All Rufus Thomas tracks. I heard you have a vinyl of every Spandau Ballet record on German import.
I heard that you have a white label of every seminal crunk 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 sitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Alice Coltrane record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jerry's Kids,
Zero Boys,
Goldenarms,
The Golliwogs,
Gil Scott Heron,
The Litter,
EPMD,
Sound Behaviour,
The United States of America,
Accadde A,
The Evens,
Gabor Szabo,
Average White Band,
The Mighty Diamonds,
Lakeside,
Urselle,
8 Eyed Spy,
KRS-One,
Angry Samoans,
Faraquet,
London Community Gospel Choir,
Big Daddy Kane,
The Royal Family And The Poor,
Michelle Simonal,
the Fania All-Stars,
Rhythm & Sound,
Groovy Waters,
Cymande,
Archie Shepp,
Albert Ayler,
Dark Day,
Depeche Mode,
Maurizio,
Cameo,
Major Organ And The Adding Machine,
Desert Stars,
John Cale,
The Gladiators,
Notorious BIG live in Amsterdam,
The Fire Engines,
Althea and Donna,
Eric Dolphy,
Peter and Kerry,
Alice Coltrane,
The Doors,
Chrome,
the Human League,
Heavy D & The Boyz,
Colin Newman,
Skriet,
De La Soul & Jungle Brothers,
Nico,
Eyeless In Gaza,
Junior Murvin,
Nick Fraelich,
Drive Like Jehu,
Pete Rock & C.L. Smooth,
Theoretical Girls,
Dorothy Ashby,
Underground Resistance,
Lungfish,
Model 500, Model 500, Model 500, Model 500.
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.