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 Qatar and from Milan.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Mexico City and Lagos.
I'm losing my edge to the art-school Lagos 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 oboe 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 The Music Machine to the grime 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 Bootsy Collins. All the underground hits.
All Isaac Hayes tracks. I heard you have a vinyl of every Ten City 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 spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Jeru the Damaja 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?
Sexual Harrassment,
Toni Rubio,
Second Layer,
Negative Approach,
Bauhaus,
Cluster,
Roy Ayers Ubiquity,
Vaughan Mason & Crew,
Warren Ellis,
The Invisible,
Stetsasonic,
Make Up,
Wire,
Public Image Ltd.,
Josef K,
Index,
H. Thieme,
Das Ding,
the Fania All-Stars,
The Victims,
John Foxx,
Bill Near,
Be Bop Deluxe,
Lafayette Afro Rock Band,
Procol Harum,
Terror Squad Feat. Camron,
Avey Tare & Kría Brekkan,
Grey Daturas,
Inner City,
The Zeros,
Harry Pussy,
Supertramp,
Soulsonic Force,
Minnie Riperton,
Moss Icon,
The Shadows of Knight,
Jerry Gold Smith,
Television,
Jesper Dahlbäck,
Chris & Cosey,
Freddie Wadling,
Rites of Spring,
Television Personalities,
Ossler,
the Swans,
Pantaleimon,
Donald Byrd,
Desert Stars,
Essential Logic,
The Associates,
Flamin' Groovies,
Janne Schatter,
Man Parrish,
Sister Nancy,
Subhumans,
Buzzcocks,
Throbbing Gristle,
Gian Franco Pienzio,
Robert Hood,
OOIOO,
The Smiths,
LL Cool J, LL Cool J, LL Cool J, LL Cool J.
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.