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 Kyrgyzstan and from Johannesburg.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Beijing and Toronto.
I'm losing my edge to the art-school Tokyo 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 arpeggiator sounds with much patience.
I was there when Captain Beefheart 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 Alice Coltrane to the techno 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 Silicon Teens. All the underground hits.
All The Cowsills tracks. I heard you have a vinyl of every Rod Modell record on German import.
I heard that you have a white label of every seminal grime 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 an organ and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Dorothy Ashby record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Anakelly,
Wighnomy Brothers & Robag Wruhme,
Talk Talk,
Mad Mike,
Television Personalities,
Freddie Wadling,
Ajijia Myrayebe,
Camron Feat. Memphis Bleek And Beenie Seigel,
Red Lorry Yellow Lorry,
Girls At Our Best!,
Hot Snakes,
Art Ensemble Of Chicago,
Niagra,
Faust,
Super Lover Cee & Casanova Rud,
A Flock of Seagulls,
The Move,
Amon Düül II,
Sister Nancy,
Piero Umiliani,
Cymande,
Johnny Osbourne,
New York Dolls,
Unwound,
Section 25,
Rotary Connection,
Sixth Finger,
Funky Four + One,
Grey Daturas,
Lalann,
Jerry Gold Smith,
Gong,
The Fire Engines,
Derrick May,
Sound Behaviour,
Eli Mardock,
The Neon Judgement,
Silicon Teens,
Jacques Brel,
Sun Ra Arkestra,
The Chocolate Watch Band,
Khruangbin,
Aswad,
The Evens,
Pole,
Subhumans,
Ultramagnetic MC's,
Pussy Galore,
Sugar Minott,
Johnny Clarke,
Robert Görl,
Babytalk,
Lindisfarne,
Pharoah Sanders,
Yellowson,
The Music Machine,
Tommy Roe,
Negative Approach,
Throbbing Gristle,
Sonny Sharrock,
Scratch Acid,
Gang Gang Dance,
Charles Mingus, Charles Mingus, Charles Mingus, Charles Mingus.
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.