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 New Zealand and from Lyon.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Bremen and Madrid.
I'm losing my edge to the art-school Mexico City 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 güiro sounds with much patience.
I was there when Captain Beefheart 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 Subhumans to the disco 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 Television. All the underground hits.
All 48th St. Collective tracks. I heard you have a vinyl of every Groovy Waters 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 '60s cut and another box set from the '80s.
I hear you're buying a synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Icehouse record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ludus,
The Doors,
Gregory Isaacs,
The Remains,
The American Breed,
Pharaoh Sanders and the Fire Engines,
Skarface,
Colin Newman,
Godley & Creme,
Alice Coltrane,
The Index,
Oppenheimer Analysis,
Sixth Finger,
Deakin,
Negative Approach,
Joy Division,
Fatback Band,
Peter & Gordon,
The Buckinghams,
CMW,
Q65,
It's A Beautiful Day,
the Normal,
De La Soul & Jungle Brothers,
The Fall,
John Foxx,
Arab on Radar,
Make Up,
New Order,
The Music Machine,
Niagra,
Lonnie Liston Smith,
Be Bop Deluxe,
The Skatalites,
Marc Almond,
Notorious BIG live in Amsterdam,
Rakim,
Angry Samoans,
Avey Tare,
Bill Near,
Harry Pussy,
Youth Brigade,
Harmonia,
Wings,
Wasted Youth,
Thee Headcoats,
Lungfish,
Morten Harket,
Jesper Dahlbäck,
The Litter,
The United States of America,
DeepChord presents Echospace,
John Coltrane,
Ponytail,
Ronan,
the Bar-Kays,
Kool G Rap & DJ Polo,
Pagans,
Erykah Badu,
Jeff Mills,
Technova,
Aaron Thompson, Aaron Thompson, Aaron Thompson, Aaron Thompson.
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.