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 Malaysia and from Lille.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Portland and Calgary.
I'm losing my edge to the art-school Accra 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 organ 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 Camron Feat. Jay Z And Juelz to the funk kids.
I played it at Trash.
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 Monochrome Set. All the underground hits.
All The Blackbyrds tracks. I heard you have a vinyl of every The Fire Engines record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a linndrum and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Monolake record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
K-Klass,
The Monks,
Fear,
Mr. Review,
David Axelrod,
Swans,
Thee Headcoats,
Theoretical Girls,
Isaac Hayes,
Kevin Saunderson,
the Fania All-Stars,
B.T. Express,
Cymande,
Wings,
Pierre Henry,
Junior Murvin,
Minny Pops,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Jesper Dahlback,
cv313,
Spandau Ballet,
The Modern Lovers,
Ronan,
Beasts of Bourbon,
Public Image Ltd.,
Ituana,
Motorama,
The Fire Engines,
Desert Stars,
Hardrive,
OOIOO,
Eric Dolphy,
8 Eyed Spy,
The Doors,
Skaos,
Brass Construction,
Pantaleimon,
Robert Görl,
Leonard Cohen,
Letta Mbulu,
Nas,
Lizzy Mercier Descloux,
Jeru the Damaja,
Ken Boothe,
Pet Shop Boys,
Rhythm & Sound,
The Zeros,
Soul II Soul,
Johnny Osbourne,
Chris & Cosey,
Audionom,
New Age Steppers,
Parry Music,
Camouflage,
Fifty Foot Hose,
Frankie Knuckles,
Second Layer,
Electric Prunes,
The Mummies,
The American Breed,
Gary Puckett & The Union Gap,
Peter and Kerry, Peter and Kerry, Peter and Kerry, Peter and Kerry.
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.