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 Togo and from Jakarta.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1976.
I'm losing my edge.
To all the kids in Philadelphia and Cairo.
I'm losing my edge to the art-school Seoul 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 rhodes sounds with much patience.
I was there when Robert Palmer 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 John Lydon to the electroclash kids.
I played it at the Troubador.
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 Kinks. All the underground hits.
All Outsiders tracks. I heard you have a vinyl of every Audionom 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 '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David Axelrod,
Stereo Dub,
Rapeman,
The Gap Band,
Sticky Fingaz feat. Raekwon,
Flipper,
X-Ray Spex,
Cybotron,
Deakin,
Thinking Fellers Union Local 282,
Crime,
Skarface,
The West Coast Pop Art Experimental Band,
The Human League,
Carl Craig,
World's Most,
The Doobie Brothers,
The Electric Prunes,
June of 44,
Schoolly D,
The Detroit Cobras,
Kurtis Blow,
Eric Dolphy,
Sly & The Family Stone,
Spandau Ballet,
Ornette Coleman,
The Alarm Clocks,
Moebius,
Pharoah Sanders,
Absolute Body Control,
Circle Jerks,
It's A Beautiful Day,
Parry Music,
Bronski Beat,
Scratch Acid,
The Fortunes,
Jimmy McGriff,
the Swans,
AZ,
Bill Wells,
Pantytec,
The Barracudas,
The Skatalites,
Gang Gang Dance,
Fear,
The Mighty Diamonds,
Oneida,
Q65,
Max Romeo,
Terrestrial Tones,
Michelle Simonal,
Graham Central Station,
Andrew Hill,
The Techniques,
Panda Bear,
Interpol,
Zero Boys,
10cc,
Gil Scott-Heron and Jamie xx,
Minnie Riperton,
Malaria!,
Lightning Bolt,
Magma,
The Standells, The Standells, The Standells, The Standells.
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.