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 Lesotho and from Hong Kong.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Columbus and Paris.
I'm losing my edge to the art-school Woodstock 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 Donald Fagen 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 Tim Buckley 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 The Birthday Party. All the underground hits.
All It's A Beautiful Day tracks. I heard you have a vinyl of every Funkadelic record on German import.
I heard that you have a white label of every seminal disco 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 harpsichord and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Technova record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The J.B.'s,
Don Cherry,
48th St. Collective,
Guru Guru,
Susan Cadogan,
Gil Scott-Heron & Brian Jackson,
Crispian St. Peters,
Anakelly,
Tomorrow,
Angry Samoans,
Sam Rivers,
Blancmange,
Isaac Hayes,
Fort Wilson Riot,
Mad Mike,
The Electric Prunes,
Das Ding,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Grandmaster Flash,
Matthew Bourne,
Fifty Foot Hose,
Popol Vuh,
Erasure,
The Mighty Diamonds,
Half Japanese,
Excepter,
DNA,
Oneida,
Red Lorry Yellow Lorry,
Michelle Simonal,
Scan 7,
Radio Birdman,
The Slackers,
Alton Ellis,
Andrew Hill,
Skriet,
The Leaves,
Liaisons Dangereuses,
Dawn Penn,
Jimmy McGriff,
Curtis Mayfield,
Pet Shop Boys,
Mark Hollis,
Subhumans,
Crispy Ambulance,
The Skatalites,
The Pretty Things,
The Smoke,
Eurythmics,
Gian Franco Pienzio,
Lizzy Mercier Descloux,
James Chance & The Contortions,
Cal Tjader,
Lalann,
Deutsch Amerikanische Freundschaft,
Sun Ra,
Circle Jerks,
Camberwell Now,
Rekid,
The Gun Club,
Aaron Thompson, Aaron Thompson, Aaron Thompson, Aaron Thompson.
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.