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 Maldives and from Toronto.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Seoul and Shanghai.
I'm losing my edge to the art-school Edmonton 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 organ 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 Bill Wells to the jazz kids.
I played it at the 40 Watt.
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 Todd Terry. All the underground hits.
All Sparks tracks. I heard you have a vinyl of every Chrome 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 '70s cut and another box set from the '70s.
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 Men They Couldn't Hang record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rekid,
Marvin Gaye,
World's Most,
Unrelated Segments,
Curtis Mayfield,
The Slits,
R.M.O.,
Whodini,
Black Bananas,
Dorothy Ashby,
Roy Ayers,
Drexciya,
Skriet,
Tubeway Army,
Michelle Simonal,
Deakin,
Crispian St. Peters,
Harry Pussy,
The Vogues,
Lucky Dragons,
Schoolly D,
Graham Central Station,
The Doors,
Liaisons Dangereuses,
Icehouse,
The Fortunes,
Flipper,
The Barracudas,
The Golliwogs,
Yaz,
Delta 5,
Sugar Minott,
Roxette,
Swans,
Kerri Chandler,
Rhythm & Sound,
The Peanut Butter Conspiracy,
Mark Hollis,
Khruangbin,
Guru Guru,
Lou Reed & Metallica,
Dave Gahan,
Peter Gordon & Love of Life Orchestra,
Essential Logic,
Black Moon,
Talk Talk,
Desert Stars,
Moebius,
The Durutti Column,
Japan,
K-Klass,
Anakelly,
Soul II Soul,
Chris & Cosey,
Kango’s Stein Massive,
Joey Negro,
Pharoah Sanders,
Mission of Burma,
Wasted Youth,
Grey Daturas,
Organ,
The Selecter, The Selecter, The Selecter, The Selecter.
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.