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 Moldova and from Copenhagen.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Jakarta and Edmonton.
I'm losing my edge to the art-school Milan 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 808 sounds with much patience.
I was there when Holger Czukay 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 Terrestrial Tones to the dance 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 Howard Jones. All the underground hits.
All Amon Düül tracks. I heard you have a vinyl of every Rufus Thomas record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a linndrum and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Japan record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Mummies,
L. Decosne,
Vaughan Mason & Crew,
Rotary Connection,
The Monks,
Whodini,
Röyhkä ja Rättö ja Lehtisalo,
Captain Beefheart & His Magic Band,
The Skatalites,
Graham Central Station,
Barry Ungar,
Janne Schatter,
Monks,
Chrome,
Mantronix,
Suburban Knight,
Matthew Halsall,
Bootsy Collins,
Amazonics,
Fela Kuti,
MDC,
Ken Boothe,
The Pretty Things,
Simply Red,
Lakeside,
the Normal,
Masters at Work,
The Sonics,
The Trojans,
The Fortunes,
Pete Rock & C.L. Smooth,
Sällskapet,
Alison Limerick,
Dead Boys,
The Dirtbombs,
Robert Wyatt,
Angry Samoans,
Ornette Coleman,
Camron Feat. Jay Z And Juelz,
Aaron Thompson,
Piero Umiliani,
Pole,
Mark Hollis,
Bauhaus,
Wire,
In Retrospect,
Marvin Gaye,
Nils Olav,
Clear Light,
Roxy Music,
Crash Course in Science,
China Crisis,
DJ Style,
Kerrie Biddell,
Larry & the Blue Notes,
Bobbi Humphrey,
Charles Mingus,
Television Personalities,
Royal Trux,
Alton Ellis,
Underground Resistance,
Sonic Youth, Sonic Youth, Sonic Youth, Sonic Youth.
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.