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 Montenegro and from Glasgow.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Accra and Sao Paulo.
I'm losing my edge to the art-school Paris 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 theremin 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 Louis and Bebe Barron to the electroclash kids.
I played it at the Astoria.
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 Section 25. All the underground hits.
All Cabaret Voltaire tracks. I heard you have a vinyl of every Matthew Bourne record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a güiro and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy's Rubber Band record.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Monochrome Set,
Lou Reed,
The American Breed,
Röyhkä ja Rättö ja Lehtisalo,
Ronan,
Loose Ends,
New Order,
Henry Cow,
Arthur Verocai,
Cabaret Voltaire,
Saccharine Trust,
John Cale,
Janne Schatter,
Crooked Eye,
Japan,
Ten City,
Lafayette Afro Rock Band,
Sad Lovers and Giants,
Roy Ayers Ubiquity,
Whodini,
The Cowsills,
Gian Franco Pienzio,
Ponytail,
Masters at Work,
Fat Boys,
The Flesh Eaters,
The Leaves,
Stiv Bators,
Joyce Sims,
The Last Poets,
The Index,
Blossom Toes,
Ultimate Spinach,
Pet Shop Boys,
Chris Corsano,
Cal Tjader,
The Trojans,
Funkadelic,
Eli Mardock,
Ice-T,
The Dead C,
Cameo,
Kevin Saunderson,
Jerry's Kids,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Archie Shepp,
the Fania All-Stars,
Sandy B,
Ultravox,
Blake Baxter,
The Neon Judgement,
The Move,
Young Marble Giants,
Terrestrial Tones,
Pierre Henry,
Idris Muhammad,
Bobby Byrd,
the Slits,
Banda Bassotti,
The Buckinghams,
Marine Girls,
Babytalk,
Boz Scaggs, Boz Scaggs, Boz Scaggs, Boz Scaggs.
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.