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 Madagascar and from Philadelphia.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1979.
I'm losing my edge.
To all the kids in Winnipeg and New York.
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 güiro sounds with much patience.
I was there when Lou Reed 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 Kenny Larkin to the crunk kids.
I played it at the Crocodile.
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 Sound Behaviour. All the underground hits.
All Al Stewart tracks. I heard you have a vinyl of every June of 44 record on German import.
I heard that you have a white label of every seminal grime 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 an organ and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Man Parrish record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Techniques,
Yaz,
Cecil Taylor,
Pantaleimon,
Stiv Bators,
Kurtis Blow,
Dave Gahan,
Scrapy,
Flash Fearless,
Gang Gang Dance,
Negative Approach,
The Mighty Diamonds,
James Chance & The Contortions,
Todd Terry,
The Pop Group,
Lakeside,
Blossom Toes,
The Sound,
Pierre Henry,
H. Thieme,
The Gap Band,
Cabaret Voltaire,
Major Organ And The Adding Machine,
Main Source,
The Shadows of Knight,
The Litter,
cv313,
Thinking Fellers Union Local 282,
Ituana,
Piero Umiliani,
Deepchord,
Eric Copeland,
Procol Harum,
Banda Bassotti,
Ultimate Spinach,
The Dirtbombs,
Spoonie Gee,
Minutemen,
Judy Mowatt,
Brothers Johnson,
Audionom,
Marmalade,
The Remains,
Rahsaan Roland Kirk,
Lyres,
Janne Schatter,
Aswad,
Magazine,
The Motions,
Kool Moe Dee,
Saccharine Trust,
Con Funk Shun,
Michelle Simonal,
Sly & The Family Stone,
June Days,
Half Japanese,
Metal Thangz,
Teenage Jesus and the Jerks,
Bronski Beat,
Oblivians,
Gabor Szabo,
Malaria!, Malaria!, Malaria!, Malaria!.
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.