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 Comoros and from Johannesburg.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1964 to 1973.
I'm losing my edge.
To all the kids in Spokane and Manchester.
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 spring reverb sounds with much patience.
I was there when Lou Reed 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 Rekid to the funk 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 Joey Negro. All the underground hits.
All Cluster tracks. I heard you have a vinyl of every Ludus 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 '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a R.M.O. record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pharaoh Sanders and the Fire Engines,
Byron Stingily,
The Victims,
World's Most,
DJ Sneak,
T. Rex,
Camron Feat. Memphis Bleek And Beenie Seigel,
Swell Maps,
Aswad,
Kings Of Tomorrow,
New Order,
Lalann,
The Smiths,
Duran Duran,
JFA,
Robert Wyatt,
Susan Cadogan,
In Retrospect,
Das Ding,
Kool Moe Dee,
Sam Rivers,
Matthew Bourne,
Nation of Ulysses,
Darondo,
Minny Pops,
Basic Channel,
Gang of Four,
The Fortunes,
the Fania All-Stars,
Crash Course in Science,
Section 25,
The Real Kids,
Popol Vuh,
Faraquet,
Yellowson,
Danielle Patucci,
Drexciya,
Donny Hathaway,
Yusef Lateef,
Visage,
Nas,
Technova,
Marc Romboy vs. Booka Shade,
Guru Guru,
Anakelly,
R.M.O.,
Ultimate Spinach,
Unrelated Segments,
Angels of Light & Akron/Family,
MDC,
Skriet,
Desert Stars,
Fugazi,
Vaughan Mason & Crew,
Index,
Ultramagnetic MC's,
Echo & the Bunnymen,
Pussy Galore,
Eric Copeland,
Mandrill,
Deadbeat,
Erykah Badu,
Crispian St. Peters, Crispian St. Peters, Crispian St. Peters, Crispian St. Peters.
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.