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 India and from Winnipeg.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Edmonton and Seoul.
I'm losing my edge to the art-school Houston 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 sitar sounds with much patience.
I was there when Nile Rodgers 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 Eric Copeland to the punk 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 Hasil Adkins. All the underground hits.
All Juan Atkins tracks. I heard you have a vinyl of every Byron Stingily 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 a chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Deutsch Amerikanische Freundschaft record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric Dolphy,
Matthew Halsall,
The Gap Band,
Eli Mardock,
Blossom Toes,
Groovy Waters,
The Velvet Underground,
Arthur Verocai,
Swans,
Gary Puckett & The Union Gap,
Q and Not U,
Technova,
Pantytec,
Glambeats Corp.,
The West Coast Pop Art Experimental Band,
Todd Rundgren,
Frankie Knuckles,
Khruangbin,
Wasted Youth,
Stockholm Monsters,
L. Decosne,
Pierre Henry,
MC5,
Major Organ And The Adding Machine,
Mandrill,
Rufus Thomas,
Guru Guru,
Cal Tjader,
Roxy Music,
The Searchers,
The Selecter,
Japan,
Mantronix,
Sixth Finger,
Suburban Knight,
U.S. Maple,
The Index,
Oppenheimer Analysis,
Ash Ra Tempel,
The Dirtbombs,
Nik Kershaw,
Radiohead,
DJ Style,
Delon & Dalcan,
Juan Atkins,
Country Joe & The Fish,
Bill Wells,
Scion,
The Victims,
Cybotron,
Godley & Creme,
Matthew Bourne,
Motorama,
The Gories,
The Modern Lovers,
The Grass Roots,
AZ,
the Bar-Kays,
Clear Light,
Marmalade,
The Cramps,
Pulsallama,
Gong, Gong, Gong, Gong.
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.