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 Guinea and from Taipei.
But I was there.
I was there in 1973.
I was there at the first Television 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 1961 to 1973.
I'm losing my edge.
To all the kids in Hong Kong and Taipei.
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 rhodes sounds with much patience.
I was there when Nile Rodgers 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 Interpol to the electroclash 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 Richard Hell and the Voidoids. All the underground hits.
All Boredoms tracks. I heard you have a vinyl of every Scientists 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 '90s.
I hear you're buying a chamberlin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Red Krayola record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camberwell Now,
Lalo Schifrin,
The Remains,
The Flesh Eaters,
Harpers Bizarre,
Dorothy Ashby,
Kings Of Tomorrow,
Kurtis Blow,
Carl Craig,
Pantytec,
Roxette,
Slick Rick,
Johnny Clarke,
Roger Hodgson,
The Gladiators,
Stereo Dub,
Big Daddy Kane,
The Black Dice,
The Cosmic Jokers,
the Normal,
Beasts of Bourbon,
Gil Scott Heron,
Bush Tetras,
The Tremeloes,
Sällskapet,
Cabaret Voltaire,
Wally Richardson,
Davy DMX,
Hasil Adkins,
The Grass Roots,
Mo-Dettes,
X-102,
F. McDonald,
The Fire Engines,
Royal Trux,
Visionaries,LMNO, T- Love & Iriscience,
Rahsaan Roland Kirk,
Althea and Donna,
Fugazi,
Monolake,
Dead Boys,
Jeru the Damaja,
Delta 5,
Terry Callier,
Japan,
The United States of America,
Aswad,
Audionom,
Y Pants,
Eric B and Rakim,
Skaos,
Neu!,
Fifty Foot Hose,
Eddi Front,
Siouxsie and the Banshees,
Gabor Szabo,
Hashim,
Jimmy McGriff,
A Certain Ratio,
Ultra Naté, Ultra Naté, Ultra Naté, Ultra Naté.
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.