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 Ecuador and from London.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1976.
I'm losing my edge.
To all the kids in Seoul and Spokane.
I'm losing my edge to the art-school Johannesburg 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 rhodes sounds with much patience.
I was there when Robert Palmer 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 Roy Ayers to the disco 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 Aswad. All the underground hits.
All Morten Harket tracks. I heard you have a vinyl of every The Flesh Eaters record on German import.
I heard that you have a white label of every seminal crunk 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 a mellotron and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott-Heron and Jamie xx 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?
Nirvana,
Jeff Mills,
Clear Light,
The Shadows of Knight,
the Normal,
Monolake,
Ralphi Rosario,
Lucky Dragons,
One Last Wish,
Scan 7,
Kevin Saunderson,
Don Cherry,
Make Up,
Groovy Waters,
Marmalade,
Sparks,
London Community Gospel Choir,
Reagan Youth,
The Buckinghams,
Wasted Youth,
T.S.O.L.,
Jerry Gold Smith,
Kurtis Blow,
Crooked Eye,
B.T. Express,
Lee Hazlewood,
Janne Schatter,
The Modern Lovers,
De La Soul & Jungle Brothers,
Half Japanese,
Radiopuhelimet,
Gil Scott Heron,
Neil Young,
The Angels of Light,
Dennis Brown,
Gang Green,
Jawbox,
Scratch Acid,
The Slits,
the Association,
Lafayette Afro Rock Band,
New Order,
Basic Channel,
The Vogues,
Pantaleimon,
John Coltrane,
The Litter,
The Fugs,
Dawn Penn,
Echo & the Bunnymen,
June of 44,
Isaac Hayes,
Terrestrial Tones,
Sly & The Family Stone,
Audionom,
Massinfluence,
Charles Mingus,
Guru Guru,
Television,
Gang of Four,
Jesper Dahlbäck,
Bob Dylan,
Blossom Toes, Blossom Toes, Blossom Toes, Blossom Toes.
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.