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 Afghanistan and from Bremen.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Johannesburg and Woodstock.
I'm losing my edge to the art-school Cairo 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 mellotron 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 Max Romeo to the rap kids.
I played it at Cafe Wha.
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 Raincoats. All the underground hits.
All The Jesus and Mary Chain tracks. I heard you have a vinyl of every Graham Central Station 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 '70s.
I hear you're buying a güiro and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Victims record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Major Organ And The Adding Machine,
Kenny Larkin,
DNA,
Niagra,
Avey Tare,
Gichy Dan,
The Fuzztones,
Roy Ayers Ubiquity,
X-Ray Spex,
Reuben Wilson,
Cal Tjader,
Cabaret Voltaire,
The West Coast Pop Art Experimental Band,
Sun City Girls,
The Music Machine,
The Cure,
Blancmange,
Be Bop Deluxe,
Tom Boy,
Andrew Hill,
Joe Smooth,
Ajijia Myrayebe,
Kauko Röyhkä ja Narttu,
Country Joe & The Fish,
Soft Cell,
Rhythm & Sound,
Girls At Our Best!,
Rufus Thomas,
Ossler,
The Young Rascals,
Masters at Work,
Warren Ellis,
Funky Four + One,
Sugar Minott,
Quantec,
Andrew Ashong & Theo Parrish,
Suburban Knight,
Manfred Mann's Earth Band,
Hot Snakes,
Gang Starr,
Gian Franco Pienzio,
Reagan Youth,
Lou Reed & Metallica,
Crooked Eye,
Easy Going,
Gang Green,
Teenage Jesus and the Jerks,
The Alarm Clocks,
Stiv Bators,
Public Enemy,
Roger Hodgson,
The Star Department,
Simply Red,
Lungfish,
Spandau Ballet,
Zapp,
Siouxsie and the Banshees,
Tommy Roe,
Gang Gang Dance,
Monolake,
Youth Brigade, Youth Brigade, Youth Brigade, Youth Brigade.
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.