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 Haiti and from Beijing.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1975.
I'm losing my edge.
To all the kids in Glasgow and Jakarta.
I'm losing my edge to the art-school Shanghai 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 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 Country Teasers to the rock kids.
I played it at the Astoria.
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 Sonic Youth. All the underground hits.
All Larry & the Blue Notes tracks. I heard you have a vinyl of every Theoretical Girls 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 '60s cut and another box set from the '80s.
I hear you're buying a mellotron and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Scott Walker + Sunn O))) record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Procol Harum,
Bizarre Inc.,
Man Parrish,
Kerri Chandler,
Hashim,
Flipper,
Black Flag,
Man Eating Sloth,
Bang on a Can All-Stars,
Public Enemy,
The Sisters of Mercy,
Boredoms,
Deadbeat,
LL Cool J,
Strawberry Alarm Clock,
Blossom Toes,
The Monks,
The Litter,
Cymande,
Moebius,
Bootsy's Rubber Band,
James Chance & The Contortions,
The Cure,
Skarface,
Mary Jane Girls,
Lou Reed & John Cale,
New Age Steppers,
Rhythm & Sound,
Freddie Wadling,
The Fortunes,
Radiopuhelimet,
Hardrive,
Maleditus Sound,
The Jesus and Mary Chain,
June of 44,
Lalann,
Mad Mike,
Pantaleimon,
Q and Not U,
Gil Scott-Heron and Jamie xx,
Thinking Fellers Union Local 282,
the Sonics,
Godley & Creme,
Joensuu 1685,
The Royal Family And The Poor,
Bobby Sherman,
Gabor Szabo,
Goldenarms,
Marc Romboy vs. Booka Shade,
Roy Ayers Ubiquity,
Saccharine Trust,
Royal Trux,
The Slackers,
The United States of America,
Sällskapet,
Jesper Dahlbäck,
Deakin,
Nas,
The Velvet Underground,
Smog,
Kas Product, Kas Product, Kas Product, Kas Product.
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.