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 Sao Paulo.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Salvador and Winnipeg.
I'm losing my edge to the art-school Delhi 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 linndrum 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 Notorious BIG live in Amsterdam to the jazz 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 Sight & Sound. All the underground hits.
All Circle Jerks tracks. I heard you have a vinyl of every John Cale record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a harpsichord and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Glambeats Corp. record.
I hear that you and your band have sold your guitar and bought a theremin.
I hear that you and your band have sold your theremin and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Moody Blues,
Joe Smooth,
New Age Steppers,
Angry Samoans,
Sexual Harrassment,
Mantronix,
Joensuu 1685,
Cameo,
Visionaries,LMNO, T- Love & Iriscience,
Tom Boy,
Gichy Dan,
Mo-Dettes,
Kas Product,
Das Ding,
David Axelrod,
Echospace,
Main Source,
Aloha Tigers,
Bobbi Humphrey,
Sad Lovers and Giants,
Prince Buster,
Bizarre Inc.,
Pet Shop Boys,
The Victims,
Cecil Taylor,
Buzzcocks,
The Residents,
Magazine,
The Pop Group,
The Gladiators,
Marc Almond,
Public Image Ltd.,
The Saints,
Ajijia Myrayebe,
48th St. Collective,
Masters at Work,
Rufus Thomas,
Porter Ricks,
Connie Case,
Black Pus,
Wolf Eyes,
Eurythmics,
Delon & Dalcan,
Index,
Jesper Dahlbäck,
Marine Girls,
DJ Style,
Black Sheep,
The Dirtbombs,
Johnny Osbourne,
Gil Scott Heron,
The Red Krayola,
The Modern Lovers,
ABC,
The Shadows of Knight,
It's A Beautiful Day,
Lalann,
Shoche,
Heavy D & The Boyz,
the Fania All-Stars,
Gong,
Davy DMX,
Alison Limerick, Alison Limerick, Alison Limerick, Alison Limerick.
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.