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 Switzerland and from Bremen.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Accra and Glasgow.
I'm losing my edge to the art-school Mumbai 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 sitar 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 Blackbyrds to the jazz 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 China Crisis. All the underground hits.
All The Mighty Diamonds tracks. I heard you have a vinyl of every Jandek record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a the Association record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Harmonia,
Wolf Eyes,
Radio Birdman,
Bootsy Collins,
Monolake,
Bob Dylan,
Chrome,
Ultra Naté,
Ultramagnetic MC's,
Man Parrish,
Stockholm Monsters,
Nik Kershaw,
The Grass Roots,
Eric Copeland,
Sound Behaviour,
The Leaves,
Tropical Tobacco,
The Kinks,
Rahsaan Roland Kirk,
Ken Boothe,
Jeff Mills,
The Cure,
Con Funk Shun,
Deakin,
Rhythim Is Rhythim,
Heaven 17,
James Chance & The Contortions,
The Gap Band,
Freddie Wadling,
The Cosmic Jokers,
Franke,
Sandy B,
Half Japanese,
Pulsallama,
The Fire Engines,
Rod Modell,
The Moody Blues,
Agitation Free,
Aural Exciters,
Skarface,
Roger Hodgson,
Kauko Röyhkä ja Narttu,
Electric Prunes,
The Zeros,
Crash Course in Science,
Banda Bassotti,
Traffic Nightmare,
Ice-T,
Scratch Acid,
Duran Duran,
Jeru the Damaja,
The Fortunes,
Blossom Toes,
Bang On A Can,
The Saints,
Flamin' Groovies,
the Bar-Kays,
Blancmange,
The Index,
Television,
Lebanon Hanover,
Urselle, Urselle, Urselle, Urselle.
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.