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 Guinea and from Edmonton.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Lyon and Copenhagen.
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 theremin sounds with much patience.
I was there when David Bowie 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 Matthew Halsall to the disco 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 Crash Course in Science. All the underground hits.
All The Seeds tracks. I heard you have a vinyl of every Selector Dub Narcotic record on German import.
I heard that you have a white label of every seminal grunge 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 spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Flamin' Groovies record.
I hear that you and your band have sold your linndrum and bought a güiro.
I hear that you and your band have sold your güiro and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Funkadelic,
The Cramps,
Lafayette Afro Rock Band,
Silicon Teens,
Marshall Jefferson,
The Alarm Clocks,
Lou Reed,
Country Teasers,
Shoche,
Max Romeo,
Nik Kershaw,
L. Decosne,
Eve St. Jones,
Gary Puckett & The Union Gap,
Glambeats Corp.,
a-ha,
Dual Sessions,
John Holt,
Matthew Halsall,
Deadbeat,
Black Moon,
Dawn Penn,
Pylon,
Stetsasonic,
Fort Wilson Riot,
Sister Nancy,
Howard Jones,
Agent Orange,
T. Rex,
Livin' Joy,
Panda Bear,
the Association,
Joensuu 1685,
Gastr Del Sol,
Bobby Womack,
Jacques Brel,
Bootsy Collins,
The Slits,
Big Daddy Kane,
Mo-Dettes,
The Grass Roots,
Lou Reed & John Cale,
Black Sheep,
48th St. Collective,
Bauhaus,
The Monks,
The Index,
Banda Bassotti,
Thompson Twins,
John Coltrane,
Derrick May,
Scrapy,
Jandek,
Zapp,
Saccharine Trust,
The Invisible,
David Axelrod,
Thee Headcoats,
Cluster,
Reuben Wilson,
Zero Boys,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.