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 Hong Kong.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Bologna and Accra.
I'm losing my edge to the art-school Stockholm 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 theremin 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 Sly & The Family Stone to the funk kids.
I played it at the Roxy.
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 Eurythmics. All the underground hits.
All The Fall tracks. I heard you have a vinyl of every Deutsch Amerikanische Freundschaft record on German import.
I heard that you have a white label of every seminal rock 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 oboe and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Massinfluence record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dorothy Ashby,
Scratch Acid,
Delon & Dalcan,
Major Organ And The Adding Machine,
The Flesh Eaters,
Sister Nancy,
Unwound,
Pere Ubu,
Lyres,
Guru Guru,
Selector Dub Narcotic,
Pete Rock & C.L. Smooth,
Althea and Donna,
F. McDonald,
The Fall,
Kango’s Stein Massive,
The Velvet Underground,
Bronski Beat,
Unrelated Segments,
The Golliwogs,
Make Up,
Silicon Teens,
Tubeway Army,
Echospace,
The Smiths,
Stetsasonic,
Yazoo,
Scientists,
Ice-T,
Harpers Bizarre,
Idris Muhammad,
Sällskapet,
The Alarm Clocks,
Pantaleimon,
Röyhkä ja Rättö ja Lehtisalo,
Soul II Soul,
Iggy Pop,
Ronnie Foster,
The Martian,
Quantec,
Freddie Wadling,
Justin Hinds & The Dominoes,
Television Personalities,
The Monks,
Thompson Twins,
The Gun Club,
Model 500,
Cluster,
Kool G Rap & DJ Polo,
Grauzone,
Sonic Youth,
Nico,
B.T. Express,
Fluxion,
Quando Quango,
Rhythim Is Rhythim,
Lucky Dragons,
Dawn Penn,
Ultimate Spinach,
The Sonics,
Eyeless In Gaza,
Deepchord,
Monolake,
Howard Jones, Howard Jones, Howard Jones, Howard Jones.
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.