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 Eritrea and from Milan.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1965 to 1974.
I'm losing my edge.
To all the kids in New York and London.
I'm losing my edge to the art-school Mexico City 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 Michael McDonald 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 Siglo XX to the jazz kids.
I played it at the Troubador.
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 Royal Family And The Poor. All the underground hits.
All Aswad tracks. I heard you have a vinyl of every Kaleidoscope record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Crooked Eye record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kayak,
Soulsonic Force,
Eden Ahbez,
Colin Newman,
Eve St. Jones,
Saccharine Trust,
Bobby Byrd,
Gabor Szabo,
The Walker Brothers,
Crash Course in Science,
Judy Mowatt,
The Invisible,
Mo-Dettes,
The Kinks,
Oneida,
Radiopuhelimet,
Bobby Womack,
A Certain Ratio,
Neil Young,
Oppenheimer Analysis,
Altered Images,
The Beau Brummels,
Cluster,
Eric Copeland,
Faraquet,
The Slits,
The Cowsills,
Ken Boothe,
Audionom,
Sun Ra,
Kevin Saunderson,
Easy Going,
Scott Walker,
Country Joe & The Fish,
Gil Scott-Heron and Jamie xx,
Beasts of Bourbon,
David McCallum,
The Move,
Hot Snakes,
Bizarre Inc.,
Derrick May,
Justin Hinds & The Dominoes,
The Mighty Diamonds,
Grandmaster Flash,
T. Rex,
Unrelated Segments,
The Real Kids,
Barrington Levy,
Avey Tare's Slasher Flicks,
Barclay James Harvest,
The Men They Couldn't Hang,
Alton Ellis,
Joyce Sims,
Arthur Verocai,
Eurythmics,
Ajijia Myrayebe,
Ornette Coleman,
John Holt,
The J.B.'s,
Lucky Dragons,
Tubeway Army,
Rapeman, Rapeman, Rapeman, Rapeman.
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.