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 Romania and from Bologna.
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 1962 to 1978.
I'm losing my edge.
To all the kids in New York and London.
I'm losing my edge to the art-school Philadelphia 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 chamberlin 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 Slave to the jazz kids.
I played it at CBGB's.
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 American Breed. All the underground hits.
All The Sisters of Mercy tracks. I heard you have a vinyl of every Peter & Gordon record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a theremin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Idris Muhammad record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Image Ltd.,
Stiv Bators,
Big Daddy Kane,
The Blues Magoos,
Television,
The Gories,
Outsiders,
Funkadelic,
Lucky Dragons,
The Sonics,
Sonny Sharrock,
Second Layer,
Black Sheep,
David McCallum,
New York Dolls,
Jacob Miller,
The Alarm Clocks,
These Immortal Souls,
Gabor Szabo,
David Axelrod,
Von Mondo,
Terrestrial Tones,
Gang Green,
Ohio Players,
Moebius,
cv313,
Quadrant,
Accadde A,
Anthony Braxton,
Hashim,
the Slits,
Bobby Womack,
Wolf Eyes,
Inner City,
John Coltrane,
Severed Heads,
Dorothy Ashby,
Kaleidoscope,
Drexciya,
Dave Gahan,
Lou Reed,
Rotary Connection,
The Beau Brummels,
Electric Prunes,
Radio Birdman,
Guru Guru,
Richard Hell and the Voidoids,
Organ,
Al Stewart,
Scientists,
Pierre Henry,
The Doors,
Eurythmics,
Basic Channel,
Vladislav Delay,
Harmonia,
The Motions,
Rites of Spring,
The Blackbyrds,
the Germs,
Ultramagnetic MC's,
Lou Christie,
Ronnie Foster, Ronnie Foster, Ronnie Foster, Ronnie Foster.
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.