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 Rwanda and from Lille.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Lagos and Jakarta.
I'm losing my edge to the art-school Sao Paulo 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 Robert Palmer 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 Jeff Mills to the dance 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 Jeff Lynne. All the underground hits.
All These Immortal Souls tracks. I heard you have a vinyl of every Slave record on German import.
I heard that you have a white label of every seminal electroclash 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 synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Walker Brothers record.
I hear that you and your band have sold your rhodes and bought a 808.
I hear that you and your band have sold your 808 and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Ashong & Theo Parrish,
Japan,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Gabor Szabo,
Q and Not U,
X-101,
James Chance & The Contortions,
Harmonia,
Magma,
Strawberry Alarm Clock,
Neil Young,
Joe Finger,
Henry Cow,
Ludus,
The Searchers,
Sugar Minott,
Gil Scott Heron,
The Fugs,
Avey Tare,
AZ,
Supertramp,
Pagans,
Pole,
Model 500,
Andrew Hill,
Idris Muhammad,
Big Daddy Kane,
Beasts of Bourbon,
John Lydon,
Jesper Dahlback,
The Fortunes,
the Soft Cell,
Ken Boothe,
Byron Stingily,
FM Einheit,
Hot Snakes,
Bauhaus,
Sun City Girls,
The Fall,
Babytalk,
Half Japanese,
The Saints,
Moss Icon,
This Heat,
Echo & the Bunnymen,
Bootsy Collins,
Ronan,
Harpers Bizarre,
Alice Coltrane,
Chris Corsano,
Matthew Bourne,
Camron Feat. Memphis Bleek And Beenie Seigel,
Joey Negro,
Dave Gahan,
Art Ensemble Of Chicago,
Gong,
Brand Nubian,
Chrome,
Zero Boys,
Lightning Bolt,
The Victims, The Victims, The Victims, The Victims.
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.