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 Greece and from Lyon.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Spokane and Mumbai.
I'm losing my edge to the art-school New York 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 güiro sounds with much patience.
I was there when Lou Reed 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 Minor Threat to the disco kids.
I played it at the 40 Watt.
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 The Fire Engines. All the underground hits.
All Ronnie Foster tracks. I heard you have a vinyl of every Jesper Dahlback 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 '80s cut and another box set from the '70s.
I hear you're buying a mellotron and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Brand Nubian record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Byron Stingily,
Theoretical Girls,
Ajijia Myrayebe,
China Crisis,
Nirvana,
Slick Rick,
Avey Tare's Slasher Flicks,
Drive Like Jehu,
Deepchord,
Red Lorry Yellow Lorry,
Rowland S Howard / Lydia Lunch,
The Birthday Party,
48th St. Collective,
Michelle Simonal,
The Jesus and Mary Chain,
Saccharine Trust,
Deakin,
Warren Ellis,
Pere Ubu,
Richard Hell and the Voidoids,
The Smiths,
Hashim,
Charles Mingus,
Groovy Waters,
Pulsallama,
The Blackbyrds,
Big Daddy Kane,
Harpers Bizarre,
Electric Light Orchestra,
Joe Smooth,
Crispian St. Peters,
Sun Ra Arkestra,
The American Breed,
Alice Coltrane,
Average White Band,
Pete Rock & C.L. Smooth,
Urselle,
Todd Rundgren,
Little Man,
Clear Light,
Jesper Dahlback,
Shuggie Otis,
Lightning Bolt,
DNA,
Delon & Dalcan,
Country Teasers,
Amazonics,
Nick Cave & The Bad Seeds,
Robert Wyatt,
Joyce Sims,
Maurizio,
Susan Cadogan,
Suburban Knight,
Sam Rivers,
Nation of Ulysses,
The Shadows of Knight,
Minnie Riperton,
John Coltrane,
Ohio Players,
Fifty Foot Hose,
The Barracudas,
Black Bananas,
T.S.O.L., T.S.O.L., T.S.O.L., T.S.O.L..
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.