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 Libya and from Bologna.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Columbus and Sao Paulo.
I'm losing my edge to the art-school Shanghai 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 David Bowie 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 Anthony Braxton to the electroclash 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 Reuben Wilson. All the underground hits.
All Danielle Patucci tracks. I heard you have a vinyl of every The Raincoats record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a guitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Move record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eyeless In Gaza,
Minnie Riperton,
Lou Reed,
Arthur Verocai,
Wire,
Manfred Mann's Earth Band,
Fort Wilson Riot,
One Last Wish,
Talk Talk,
The Angels of Light,
Gil Scott Heron,
Marmalade,
Gong,
Wasted Youth,
Gang of Four,
Bob Dylan,
Nils Olav,
New Age Steppers,
Bauhaus,
The Count Five,
Sad Lovers and Giants,
Colin Newman,
Mantronix,
The Royal Family And The Poor,
Motorama,
Youth Brigade,
Bobbi Humphrey,
Echo & the Bunnymen,
The Standells,
Deepchord,
Infiniti,
Deakin,
David Axelrod,
Freddie Wadling,
Icehouse,
Reuben Wilson,
Josef K,
the Soft Cell,
X-Ray Spex,
Drexciya,
Gang Gang Dance,
A Certain Ratio,
Pet Shop Boys,
Al Stewart,
Jacques Brel,
Electric Light Orchestra,
Bang on a Can All-Stars,
Fat Boys,
Ohio Players,
Warren Ellis,
Das Ding,
The Human League,
Scott Walker,
Second Layer,
The West Coast Pop Art Experimental Band,
Avey Tare & Kría Brekkan,
The Moody Blues,
Sexual Harrassment,
The Fortunes,
Public Image Ltd.,
Theoretical Girls, Theoretical Girls, Theoretical Girls, Theoretical Girls.
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.