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 Slovenia and from Taipei.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Jakarta and Paris.
I'm losing my edge to the art-school Glasgow 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 Red Lorry Yellow Lorry to the crunk 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 Royal Family And The Poor. All the underground hits.
All The Gories tracks. I heard you have a vinyl of every Harmonia record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a linndrum and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Joey Negro record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tommy Roe,
Eli Mardock,
Nik Kershaw,
The Moody Blues,
Spandau Ballet,
Jesper Dahlback,
U.S. Maple,
Bauhaus,
The Mighty Diamonds,
10cc,
D'Angelo,
Sugar Minott,
Arab on Radar,
The Shadows of Knight,
Circle Jerks,
The Leaves,
Erykah Badu,
The Cowsills,
Mr. Review,
Jacob Miller,
The Toasters,
The Smiths,
The Martian,
Sister Nancy,
David Bowie,
Chris Corsano,
Absolute Body Control,
The Blackbyrds,
Kayak,
Avey Tare's Slasher Flicks,
Dave Gahan,
Gary Puckett & The Union Gap,
Outsiders,
Radiohead,
Alison Limerick,
Accadde A,
Eric Copeland,
Pierre Henry,
Maleditus Sound,
Cabaret Voltaire,
Sun City Girls,
Roxy Music,
H. Thieme,
Man Eating Sloth,
the Sonics,
Subhumans,
New York Dolls,
Todd Terry,
Franke,
Strawberry Alarm Clock,
A Certain Ratio,
Interpol,
Donny Hathaway,
Deakin,
Shuggie Otis,
Funky Four + One,
Oneida,
Jesper Dahlbäck,
MDC,
Audionom,
The West Coast Pop Art Experimental Band,
Japan,
Bob Dylan, Bob Dylan, Bob Dylan, Bob Dylan.
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.