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 United Kingdom and from Sao Paulo.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Manchester and Shanghai.
I'm losing my edge to the art-school Bologna 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 Holger Czukay 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 48th St. Collective to the funk 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 John Foxx. All the underground hits.
All Rapeman tracks. I heard you have a vinyl of every James Chance & The Contortions record on German import.
I heard that you have a white label of every seminal rock 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 a clarinet and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Massinfluence record.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Man Parrish,
Arthur Verocai,
Fluxion,
Deepchord,
Magazine,
Joe Finger,
Lightning Bolt,
Tres Demented,
Essential Logic,
Bobby Sherman,
Nirvana,
The Remains,
Kool Moe Dee,
UT,
Judy Mowatt,
Kool G Rap & DJ Polo,
Massinfluence,
Glambeats Corp.,
Porter Ricks,
Crispy Ambulance,
Marshall Jefferson,
Godley & Creme,
The Music Machine,
Barbara Tucker,
Cheater Slicks,
The Toasters,
Harpers Bizarre,
Robert Wyatt,
Main Source,
The Smoke,
Lou Reed & John Cale,
Ice-T,
Eden Ahbez,
Gil Scott-Heron and Jamie xx,
Boogie Down Productions,
June of 44,
Ultimate Spinach,
Tears for Fears,
Erykah Badu,
Roy Ayers Ubiquity,
Pulsallama,
The Electric Prunes,
New Age Steppers,
Terry Callier,
Kas Product,
Cal Tjader,
Gil Scott Heron,
James Chance & The Contortions,
Theoretical Girls,
Barclay James Harvest,
Mo-Dettes,
Byron Stingily,
ABBA,
Suicide,
Adolescents,
Slave,
The Star Department,
Strawberry Alarm Clock,
Radiopuhelimet,
Gian Franco Pienzio,
New York Dolls,
Reuben Wilson, Reuben Wilson, Reuben Wilson, Reuben Wilson.
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.