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 Norway and from Beijing.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Tokyo and Calgary.
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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the linndrum 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 Gil Scott-Heron and Jamie xx to the grime kids.
I played it at CBGB's.
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 Captain Beefheart & His Magic Band. All the underground hits.
All Joyce Sims tracks. I heard you have a vinyl of every Barrington Levy record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a rhodes and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Angry Samoans record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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?
Absolute Body Control,
The Index,
The Fall,
CMW,
Soft Machine,
Man Eating Sloth,
China Crisis,
The Velvet Underground,
Ronan,
Joy Division,
Gang Gang Dance,
Lucky Dragons,
Pete Rock & C.L. Smooth,
Susan Cadogan,
The United States of America,
Ronnie Foster,
The Cowsills,
Albert Ayler,
Cymande,
The Detroit Cobras,
The Saints,
Black Sheep,
Sun City Girls,
Tomorrow,
Kings Of Tomorrow,
Rod Modell,
The Grass Roots,
Ken Boothe,
The Black Dice,
Amon Düül,
Manfred Mann's Earth Band,
Erykah Badu,
Nirvana,
Oneida,
Charles Mingus,
Kool Moe Dee,
The Kinks,
Rhythim Is Rhythim,
Grandmaster Flash,
Circle Jerks,
Jeff Mills,
Mars,
Idris Muhammad,
Yazoo,
Faust,
Lee Hazlewood,
Donald Byrd,
Yusef Lateef,
Parry Music,
Groovy Waters,
The Happenings,
Interpol,
The Victims,
Jawbox,
Josef K,
Strawberry Alarm Clock,
Ituana,
Marcia Griffiths,
The Remains,
Dual Sessions,
Andrew Ashong & Theo Parrish,
Sarah Menescal, Sarah Menescal, Sarah Menescal, Sarah Menescal.
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.