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 Bangladesh and from Tokyo.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1976.
I'm losing my edge.
To all the kids in Madrid and Milan.
I'm losing my edge to the art-school Edmonton 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 arpeggiator sounds with much patience.
I was there when Michael McDonald 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 Lightning Bolt to the rap kids.
I played it at Trash.
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 Techniques. All the underground hits.
All Underground Resistance tracks. I heard you have a vinyl of every Qualms record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a the Slits record.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Easy Going,
Lalann,
Wire,
Cecil Taylor,
La Düsseldorf,
The Stooges,
Camberwell Now,
The Residents,
The Smoke,
Bronski Beat,
Kango’s Stein Massive,
Radio Birdman,
Rapeman,
Pole,
The Misunderstood,
Ajijia Myrayebe,
Sister Nancy,
Theoretical Girls,
Yusef Lateef,
Kurtis Blow,
Icehouse,
Jesper Dahlbäck,
Kaleidoscope,
Avey Tare's Slasher Flicks,
The Young Rascals,
Nation of Ulysses,
The Invisible,
Sun Ra,
Oppenheimer Analysis,
Wally Richardson,
Michelle Simonal,
Sugar Minott,
Echospace,
Strawberry Alarm Clock,
Surgeon,
the Soft Cell,
The Motions,
Mr. Review,
Joyce Sims,
John Cale,
the Association,
Agitation Free,
Goldenarms,
Black Moon,
Lindisfarne,
Suicide,
Rhythim Is Rhythim,
Pantaleimon,
Ultra Naté,
Sonic Youth,
Minor Threat,
The Kinks,
Roy Ayers Ubiquity,
Average White Band,
D'Angelo,
Hashim,
Kas Product,
Darondo,
The Jesus and Mary Chain,
Technova,
Thinking Fellers Union Local 282,
Blancmange, Blancmange, Blancmange, Blancmange.
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.