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 Oman and from Toronto.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Tokyo and Milan.
I'm losing my edge to the art-school Columbus 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 oboe 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 Nik Kershaw to the crunk kids.
I played it at the Astoria.
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 Slave. All the underground hits.
All kango's stein massive tracks. I heard you have a vinyl of every Oneida 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 '60s cut and another box set from the '90s.
I hear you're buying a 808 and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Suburban Knight record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Liliput,
B.T. Express,
Soft Cell,
Bizarre Inc.,
Rotary Connection,
Lonnie Liston Smith,
Minny Pops,
Terry Callier,
Ronan,
Zero Boys,
Tomorrow,
Andrew Hill,
Bootsy Collins,
Scrapy,
The Stooges,
Sugar Minott,
Mo-Dettes,
X-Ray Spex,
Kauko Röyhkä ja Narttu,
The Martian,
The Offenders,
Isaac Hayes,
Stetsasonic,
Peter and Kerry,
Letta Mbulu,
The Royal Family And The Poor,
Gabor Szabo,
Vaughan Mason & Crew,
John Coltrane,
John Foxx,
Can,
Captain Beefheart & His Magic Band,
Bobby Womack,
Ralphi Rosario,
Ken Boothe,
Eurythmics,
Tommy Roe,
Teenage Jesus and the Jerks,
The Real Kids,
Joe Finger,
Kurtis Blow,
Skriet,
kango's stein massive,
Sandy B,
Tim Buckley,
Circle Jerks,
Accadde A,
Terror Squad Feat. Camron,
John Lydon,
A Flock of Seagulls,
Brick,
H. Thieme,
Lucky Dragons,
the Normal,
ABBA,
Davy DMX,
The West Coast Pop Art Experimental Band,
The Associates,
Bang On A Can,
The Monks, The Monks, The Monks, The Monks.
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.