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 Romania and from Columbus.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Tehran and Mumbai.
I'm losing my edge to the art-school London 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 Robert Palmer 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 Evens 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 Gil Scott-Heron & Brian Jackson. All the underground hits.
All Derrick May tracks. I heard you have a vinyl of every Andrew Hill record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a linndrum 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 Association record.
I hear that you and your band have sold your theremin and bought a sitar.
I hear that you and your band have sold your sitar and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nik Kershaw,
Kool Moe Dee,
Rekid,
Davy DMX,
KRS-One,
Pylon,
Robert Hood,
Anakelly,
Brand Nubian,
Cal Tjader,
Gang Green,
The Victims,
Crooked Eye,
Thinking Fellers Union Local 282,
Mission of Burma,
Moby Grape,
Althea and Donna,
Andrew Hill,
Agitation Free,
Kango’s Stein Massive,
Faust,
The Mummies,
Pharoah Sanders,
Pantytec,
Delon & Dalcan,
Hoover,
Janne Schatter,
The Alarm Clocks,
The Trojans,
Loose Ends,
Subhumans,
The Gladiators,
Rhythm & Sound,
Thee Headcoats,
Goldenarms,
Yellowson,
Charles Mingus,
Sound Behaviour,
The Techniques,
A Flock of Seagulls,
Grandmaster Flash,
Rod Modell,
Grauzone,
Terrestrial Tones,
The Mighty Diamonds,
Graham Central Station,
Cluster,
Nick Cave & The Bad Seeds,
Peter Gordon & Love of Life Orchestra,
Altered Images,
Joyce Sims,
The Selecter,
Dave Gahan,
Brothers Johnson,
Angry Samoans,
the Swans,
The Fuzztones,
The Royal Family And The Poor,
Heavy D & The Boyz,
Terry Callier,
Inner City,
Slave,
the Association, the Association, the Association, the Association.
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.