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 Monaco and from Tehran.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Seoul and Stockholm.
I'm losing my edge to the art-school Tehran 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 theremin sounds with much patience.
I was there when David Bowie 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 Mark Hollis to the dance kids.
I played it at the Troubador.
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 Alice Coltrane. All the underground hits.
All Bauhaus tracks. I heard you have a vinyl of every Kevin Saunderson record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a clarinet and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Q and Not U record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
Ultimate Spinach,
Gil Scott-Heron & Brian Jackson,
Glenn Branca,
X-101,
Grandmaster Flash and the Furious Five,
Black Pus,
Icehouse,
Interpol,
Young Marble Giants,
Sister Nancy,
Cecil Taylor,
Richard Hell and the Voidoids,
Oppenheimer Analysis,
KRS-One,
Aswad,
Ultramagnetic MC's,
The Knickerbockers,
AZ,
The Golliwogs,
The Human League,
Soft Cell,
Harry Pussy,
Lou Reed & John Cale,
Fluxion,
The Seeds,
Pete Rock & C.L. Smooth,
Scion,
The Moleskins,
Rosa Yemen,
Zapp,
Ralphi Rosario,
Brick,
Sun Ra,
Notorious BIG live in Amsterdam,
kango's stein massive,
Janne Schatter,
Angry Samoans,
Tears for Fears,
Public Enemy,
The Moody Blues,
Alice Coltrane,
Hashim,
T. Rex,
Larry & the Blue Notes,
Heavy D & The Boyz,
Graham Central Station,
Judy Mowatt,
Camouflage,
Porter Ricks,
The Dead C,
The Zeros,
Max Romeo,
Kool G Rap & DJ Polo,
Be Bop Deluxe,
Darondo,
Avey Tare & Kría Brekkan,
Kas Product,
Ultravox,
Barrington Levy,
Visionaries,LMNO, T- Love & Iriscience,
Gang of Four,
The Buckinghams,
Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock.
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.