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 Calgary.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Manchester and Lagos.
I'm losing my edge to the art-school Delhi 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 Robert Palmer 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 Cramps to the crunk kids.
I played it at the 40 Watt.
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 Faust. All the underground hits.
All The West Coast Pop Art Experimental Band tracks. I heard you have a vinyl of every Eurythmics record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a clarinet and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Underground Resistance record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nas,
Funky Four + One,
Avey Tare's Slasher Flicks,
Accadde A,
Rowland S Howard / Lydia Lunch,
Davy DMX,
The Blues Magoos,
Sonny Sharrock,
The Offenders,
Sister Nancy,
This Heat,
The Mojo Men,
Avey Tare,
Roy Ayers,
Suburban Knight,
Bill Near,
Minny Pops,
Peter Gordon & Love of Life Orchestra,
Anthony Braxton,
Dead Boys,
Barry Ungar,
Niagra,
Leonard Cohen,
CMW,
Sound Behaviour,
The Birthday Party,
Black Pus,
Popol Vuh,
Joensuu 1685,
Bronski Beat,
Cymande,
Charles Mingus,
Second Layer,
The Standells,
Jacob Miller,
Lyres,
James Chance & The Contortions,
Sexual Harrassment,
Pagans,
Sugar Minott,
Neil Young & Crazy Horse,
Rhythm & Sound,
Al Stewart,
Lou Reed,
David Axelrod,
Aswad,
June of 44,
Marcia Griffiths,
Marmalade,
a-ha,
Freddie Wadling,
Eli Mardock,
Sixth Finger,
kango's stein massive,
Model 500,
Zapp,
Moby Grape,
Zero Boys,
Lizzy Mercier Descloux,
The Tremeloes,
Reagan Youth, Reagan Youth, Reagan Youth, Reagan Youth.
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.