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 Kyrgyzstan and from Jakarta.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Jakarta and New York.
I'm losing my edge to the art-school Accra 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 808 sounds with much patience.
I was there when Tom Verlaine 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 Ludus to the crunk kids.
I played it at Trash.
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 Youth Brigade. All the underground hits.
All Cameo tracks. I heard you have a vinyl of every Bobby Womack record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an oboe and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Davy DMX record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marmalade,
T.S.O.L.,
The Young Rascals,
B.T. Express,
Arcadia,
Man Parrish,
La Düsseldorf,
Eric Copeland,
David Axelrod,
Royal Trux,
the Slits,
The Slackers,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Warsaw,
Captain Beefheart & His Magic Band,
Susan Cadogan,
Absolute Body Control,
Nick Fraelich,
Kevin Saunderson,
The Moody Blues,
Heavy D & The Boyz,
Y Pants,
X-101,
Todd Rundgren,
Make Up,
Gang Gang Dance,
Bad Manners,
Rapeman,
Roy Ayers Ubiquity,
Judy Mowatt,
Lizzy Mercier Descloux,
Urselle,
Chrome,
Hashim,
Scott Walker,
Rites of Spring,
a-ha,
Notorious Big And Bone Thugs,
Lyres,
Steve Hackett,
Bob Dylan,
Rod Modell,
Essential Logic,
Jacques Brel,
The Fortunes,
Monolake,
Mission of Burma,
The Sonics,
Pole,
Hasil Adkins,
A Flock of Seagulls,
It's A Beautiful Day,
the Fania All-Stars,
Soul II Soul,
Fela Kuti,
Mandrill,
Barry Ungar,
Talk Talk,
The Busters,
Kool G Rap & DJ Polo,
Moebius,
Soft Machine,
Toni Rubio,
The Count Five, The Count Five, The Count Five, The Count Five.
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.