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 Nicaragua and from Madrid.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Lyon and Winnipeg.
I'm losing my edge to the art-school Tokyo 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 David Bowie 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 Masters at Work 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 Lou Reed. All the underground hits.
All Monks tracks. I heard you have a vinyl of every Lizzy Mercier Descloux 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 '80s cut and another box set from the '70s.
I hear you're buying a theremin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Jacques Brel record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David McCallum,
Roy Ayers Ubiquity,
X-102,
Donny Hathaway,
R.M.O.,
Jesper Dahlback,
Rakim,
The Invisible,
Television,
Pharaoh Sanders and the Fire Engines,
Pussy Galore,
Minutemen,
Nation of Ulysses,
Royal Trux,
Gang Gang Dance,
The Gap Band,
OOIOO,
Oppenheimer Analysis,
Con Funk Shun,
Lower 48,
Neil Young,
Babytalk,
Pantytec,
Oblivians,
Y Pants,
John Foxx,
Q and Not U,
Model 500,
Sugar Minott,
New Age Steppers,
Graham Central Station,
Pantaleimon,
La Düsseldorf,
Larry & the Blue Notes,
Matthew Bourne,
Erasure,
The New Christs,
Mark Hollis,
June Days,
Dennis Brown,
Crash Course in Science,
Gabor Szabo,
Vainqueur,
Skarface,
Isaac Hayes,
Eve St. Jones,
A Certain Ratio,
Unrelated Segments,
Pagans,
Country Teasers,
The Last Poets,
Gang Green,
Scott Walker + Sunn O))),
The Gun Club,
The Selecter,
Albert Ayler,
Gong,
Gil Scott Heron,
The Sisters of Mercy,
Lalann,
Gian Franco Pienzio,
Sparks,
Mars,
Thinking Fellers Union Local 282,
Section 25, Section 25, Section 25, Section 25.
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.