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 Korea North and from Houston.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Spokane and Toronto.
I'm losing my edge to the art-school Manila 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 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 H. Thieme to the funk kids.
I played it at the Roxy.
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 L. Decosne. All the underground hits.
All London Community Gospel Choir tracks. I heard you have a vinyl of every Howard Jones 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 clarinet and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Index record.
I hear that you and your band have sold your guitar and bought a marimba.
I hear that you and your band have sold your marimba 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 Mummies,
Brass Construction,
David Axelrod,
D'Angelo,
Minor Threat,
Bizarre Inc.,
Charles Mingus,
Bronski Beat,
Minnie Riperton,
The Monks,
Crime,
Supertramp,
Chrome,
Porter Ricks,
Stereo Dub,
Accadde A,
Tommy Roe,
Kevin Saunderson,
The Fortunes,
Ornette Coleman,
The Motions,
Harmonia,
New York Dolls,
Lalann,
Hot Snakes,
Aloha Tigers,
Scrapy,
Gang Gang Dance,
Graham Central Station,
Scott Walker,
Morten Harket,
Eric Dolphy,
Godley & Creme,
Popol Vuh,
Drexciya,
Faust,
Bang On A Can,
LL Cool J,
Flash Fearless,
Ohio Players,
The American Breed,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Pantytec,
the Soft Cell,
Bobby Hutcherson,
Orchestral Manoeuvres in the Dark,
Technova,
Pet Shop Boys,
World's Most,
Babytalk,
Tears for Fears,
Donald Byrd,
Aaron Thompson,
Mad Mike,
Al Stewart,
Alison Limerick,
Ash Ra Tempel,
Mark Hollis,
Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron.
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.