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 Iraq and from Woodstock.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1961 to 1972.
I'm losing my edge.
To all the kids in Hong Kong and Lille.
I'm losing my edge to the art-school Accra 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 harpsichord sounds with much patience.
I was there when David Bowie 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 The United States of America to the crunk kids.
I played it at the Crocodile.
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 Bar-Kays. All the underground hits.
All John Holt tracks. I heard you have a vinyl of every Rahsaan Roland Kirk record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a clarinet and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Urselle record.
I hear that you and your band have sold your sitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mary Jane Girls,
DeepChord presents Echospace,
Animal Collective,
Sound Behaviour,
Girls At Our Best!,
Fort Wilson Riot,
Groovy Waters,
Sandy B,
The Smiths,
Wasted Youth,
Public Enemy,
Sparks,
The American Breed,
Josef K,
Lou Reed,
The Victims,
K-Klass,
Sight & Sound,
Slick Rick,
Echo & the Bunnymen,
the Slits,
The Gories,
Oneida,
Organ,
Crooked Eye,
Camouflage,
Marc Romboy vs. Booka Shade,
Ludus,
Grey Daturas,
Alice Coltrane,
Aaron Thompson,
Yaz,
Altered Images,
Slave,
Lucky Dragons,
The West Coast Pop Art Experimental Band,
Rekid,
Pulsallama,
Pussy Galore,
Accadde A,
The Modern Lovers,
The Moleskins,
Lebanon Hanover,
The Saints,
The Vogues,
Popol Vuh,
Orchestral Manoeuvres in the Dark,
L. Decosne,
Idris Muhammad,
Quando Quango,
KRS-One,
Funky Four + One,
David Axelrod,
Pharoah Sanders,
James Chance & The Contortions,
Minnie Riperton,
Ken Boothe,
Mandrill,
The Fall,
The Dave Clark Five,
ABC,
Tubeway Army,
The Toasters,
Jeff Mills, Jeff Mills, Jeff Mills, Jeff Mills.
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.