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 Kuwait and from Toronto.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Lille and Cairo.
I'm losing my edge to the art-school Calgary 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 synthesizer 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 Tommy Roe to the funk kids.
I played it at the Hacienda.
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 Jacques Brel. All the underground hits.
All EPMD tracks. I heard you have a vinyl of every Deadbeat record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a 808 and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a DNA record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare & Kría Brekkan,
Blake Baxter,
Shoche,
Gong,
Jacob Miller,
H. Thieme,
The Evens,
T.S.O.L.,
Darondo,
Crispy Ambulance,
Moebius,
Bush Tetras,
The Mummies,
Orchestral Manoeuvres in the Dark,
The Gories,
Michelle Simonal,
Dark Day,
Henry Cow,
Marvin Gaye,
Kerri Chandler,
Motorama,
The Index,
Hot Snakes,
Tropical Tobacco,
Notorious BIG live in Amsterdam,
Godley & Creme,
Hoover,
Average White Band,
Chris & Cosey,
Warsaw,
Dr. Dre and Snoop Doggy Dog,
UT,
Freddie Wadling,
The Five Americans,
Louis and Bebe Barron,
Don Cherry,
June Days,
Country Teasers,
Althea and Donna,
Ponytail,
Alphaville,
Cameo,
Strawberry Alarm Clock,
Wally Richardson,
DJ Style,
Eden Ahbez,
U.S. Maple,
K-Klass,
The Smiths,
Vainqueur,
Lungfish,
X-Ray Spex,
Tim Buckley,
Electric Prunes,
June of 44,
Robert Hood,
Wighnomy Brothers & Robag Wruhme,
Grey Daturas,
cv313,
Quantec,
Boogie Down Productions,
Pere Ubu, Pere Ubu, Pere Ubu, Pere Ubu.
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.