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 Romania and from Edmonton.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Milan and Accra.
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 synthesizer sounds with much patience.
I was there when Robert Palmer 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 Faraquet to the rap kids.
I played it at the Crocodile.
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 Eddi Front. All the underground hits.
All Wire tracks. I heard you have a vinyl of every Bad Manners record on German import.
I heard that you have a white label of every seminal grunge 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 guitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Jeff Mills record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lakeside,
Nik Kershaw,
Connie Case,
KRS-One,
Judy Mowatt,
Beasts of Bourbon,
DJ Style,
Negative Approach,
Livin' Joy,
Hot Snakes,
The Grass Roots,
Kerri Chandler,
Country Teasers,
Brick,
Bobby Womack,
Notorious Big And Bone Thugs,
Yellowson,
Scratch Acid,
Crispian St. Peters,
Jesper Dahlbäck,
Neil Young,
Brothers Johnson,
Unwound,
Pylon,
Sarah Menescal,
Kango’s Stein Massive,
Silicon Teens,
Pharaoh Sanders and the Fire Engines,
Fatback Band,
Masters at Work,
Ossler,
Basic Channel,
Roger Hodgson,
David McCallum,
Bizarre Inc.,
The Victims,
Flipper,
Grauzone,
Saccharine Trust,
Sugar Minott,
the Slits,
U.S. Maple,
Vaughan Mason & Crew,
The Velvet Underground,
Maurizio,
Idris Muhammad,
Ultra Naté,
the Sonics,
John Foxx,
The Monks,
The West Coast Pop Art Experimental Band,
Funkadelic,
Minnie Riperton,
Porter Ricks,
L. Decosne,
Bootsy Collins,
The Trojans,
De La Soul & Jungle Brothers,
Johnny Clarke,
Peter Gordon & Love of Life Orchestra,
Bang On A Can,
Royal Trux,
The Blues Magoos,
Teenage Jesus and the Jerks,
Rotary Connection, Rotary Connection, Rotary Connection, Rotary Connection.
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.