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 Macedonia and from Toronto.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1979.
I'm losing my edge.
To all the kids in Manchester and Houston.
I'm losing my edge to the art-school Lyon 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 synthesizer 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 X-102 to the disco kids.
I played it at the Spitz.
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 Laurel Aitken. All the underground hits.
All Rakim tracks. I heard you have a vinyl of every the Germs 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 '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a OOIOO record.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alison Limerick,
Bill Wells,
Man Parrish,
These Immortal Souls,
Crispy Ambulance,
Bang On A Can,
La Düsseldorf,
LL Cool J,
Vladislav Delay,
Marine Girls,
The Associates,
The Fuzztones,
Faust,
Terrestrial Tones,
Throbbing Gristle,
The Music Machine,
The Flesh Eaters,
Camberwell Now,
Bad Manners,
kango's stein massive,
10cc,
Joensuu 1685,
Captain Beefheart & His Magic Band,
Organ,
Moebius,
Sun Ra,
Massinfluence,
The Mighty Diamonds,
Talk Talk,
Public Enemy,
Anthony Braxton,
The Grass Roots,
Rahsaan Roland Kirk,
K-Klass,
Kevin Saunderson,
Can,
The Durutti Column,
Kayak,
Scan 7,
Sarah Menescal,
Ornette Coleman,
The Victims,
June of 44,
Pere Ubu,
Dawn Penn,
Brick,
The Gap Band,
Pet Shop Boys,
The Evens,
The Dead C,
Japan,
The United States of America,
Cabaret Voltaire,
Agitation Free,
Liliput,
Groovy Waters,
Deutsch Amerikanische Freundschaft,
Flash Fearless,
New Order,
Crime,
Echo & the Bunnymen, Echo & the Bunnymen, Echo & the Bunnymen, Echo & the Bunnymen.
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.