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 Andorra and from Spokane.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Accra and New York.
I'm losing my edge to the art-school Lagos 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the linndrum sounds with much patience.
I was there when Holger Czukay 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 The Mighty Diamonds to the jazz kids.
I played it at CBGB's.
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 Schoolly D. All the underground hits.
All Aaron Thompson tracks. I heard you have a vinyl of every Brass Construction record on German import.
I heard that you have a white label of every seminal crunk 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 sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Black Moon record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Buzzcocks,
Slave,
Loose Ends,
Pharaoh Sanders and the Fire Engines,
A Certain Ratio,
Bronski Beat,
Panda Bear,
Make Up,
Infiniti,
Bob Dylan,
Saccharine Trust,
The Fortunes,
Tres Demented,
Drexciya,
Deadbeat,
Unrelated Segments,
Kauko Röyhkä ja Narttu,
Cymande,
The Invisible,
Tropical Tobacco,
Thee Headcoats,
EPMD,
Grey Daturas,
Frankie Knuckles,
Zapp,
Glenn Branca,
Sällskapet,
Johnny Clarke,
Todd Rundgren,
Soft Machine,
Newcleus,
Bobby Womack,
Pantytec,
Gregory Isaacs,
Ronnie Foster,
The Selecter,
Ralphi Rosario,
Maleditus Sound,
Gang Green,
Icehouse,
London Community Gospel Choir,
Black Sheep,
The American Breed,
Camron Feat. Memphis Bleek And Beenie Seigel,
Sarah Menescal,
Don Cherry,
B.T. Express,
Orchestral Manoeuvres in the Dark,
Charles Mingus,
The Moleskins,
David McCallum,
Black Bananas,
Rekid,
Aloha Tigers,
Electric Light Orchestra,
The Men They Couldn't Hang,
Echospace,
The Gun Club,
the Germs,
DNA,
Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch.
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.