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 Columbus.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Madrid and Delhi.
I'm losing my edge to the art-school New York 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 snare 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 Bauhaus to the techno kids.
I played it at the Spitz.
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 Ornette Coleman. All the underground hits.
All Kings Of Tomorrow 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 jazz 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 808 and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Lebanon Hanover record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siglo XX,
Judy Mowatt,
Todd Rundgren,
Eyeless In Gaza,
The Fuzztones,
Slick Rick,
Angry Samoans,
Crispy Ambulance,
Alison Limerick,
Aaron Thompson,
Andrew Hill,
Tom Boy,
June Days,
The Five Americans,
Arthur Verocai,
Lizzy Mercier Descloux,
Jandek,
Toni Rubio,
Animal Collective,
Tubeway Army,
The Fall,
Peter and Kerry,
The Pretty Things,
K-Klass,
Curtis Mayfield,
The Toasters,
Unwound,
The Barracudas,
the Slits,
Traffic Nightmare,
Pharaoh Sanders and the Fire Engines,
Monks,
James White and The Blacks,
Stereo Dub,
Connie Case,
Matthew Halsall,
Pagans,
Cheater Slicks,
Pantaleimon,
Teenage Jesus and the Jerks,
Ajijia Myrayebe,
Kurtis Blow,
Ultravox,
Anthony Braxton,
New Order,
Junior Murvin,
R.M.O.,
Crooked Eye,
Soul Sonic Force,
Sugar Minott,
Pierre Henry,
Notorious Big And Bone Thugs,
Matthew Bourne,
Skriet,
Pere Ubu,
The Wake,
John Cale,
Boogie Down Productions,
Oneida,
Make Up,
The Leaves, The Leaves, The Leaves, The Leaves.
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.