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 United Kingdom and from Johannesburg.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1970.
I'm losing my edge.
To all the kids in Houston and Bremen.
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 theremin 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 The Birthday Party to the dance 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 Kango’s Stein Massive. All the underground hits.
All The Victims tracks. I heard you have a vinyl of every Duran Duran record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a mellotron and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Max Romeo record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brass Construction,
The West Coast Pop Art Experimental Band,
Amon Düül,
Fatback Band,
David Axelrod,
The Modern Lovers,
Ohio Players,
X-102,
The Detroit Cobras,
Judy Mowatt,
Sun Ra Arkestra,
The Gories,
Faraquet,
The Electric Prunes,
Fugazi,
Lightning Bolt,
Lou Reed & John Cale,
Pierre Henry,
Gastr Del Sol,
Fluxion,
James Chance & The Contortions,
the Normal,
The Fall,
Japan,
Fear,
Lee Hazlewood,
Roy Ayers Ubiquity,
Mad Mike,
Jandek,
Massinfluence,
Zero Boys,
Amon Düül II,
Don Cherry,
Au Pairs,
Orchestral Manoeuvres in the Dark,
Blancmange,
E-Dancer,
Procol Harum,
Ajijia Myrayebe,
Todd Rundgren,
Terrestrial Tones,
Lebanon Hanover,
Gian Franco Pienzio,
Bizarre Inc.,
Make Up,
The Last Poets,
Motorama,
The Music Machine,
Thinking Fellers Union Local 282,
The Smiths,
Mark Hollis,
The Searchers,
Harry Pussy,
Scott Walker + Sunn O))),
Wasted Youth,
Hardrive,
Yellowson,
Black Moon,
Letta Mbulu,
Pharaoh Sanders and the Fire Engines,
Idris Muhammad, Idris Muhammad, Idris Muhammad, Idris Muhammad.
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.