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 Portugal and from Spokane.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Salvador and Shanghai.
I'm losing my edge to the art-school Salvador 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 theremin sounds with much patience.
I was there when Michael McDonald 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 Flesh Eaters to the jazz kids.
I played it at Cafe Wha.
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 Erasure. All the underground hits.
All The Moleskins tracks. I heard you have a vinyl of every The Mighty Diamonds record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a guitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Sarah Menescal record.
I hear that you and your band have sold your guitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Graham Central Station,
Drexciya,
Grey Daturas,
The Moody Blues,
Marvin Gaye,
Cal Tjader,
The Shadows of Knight,
Dr. Dre and Snoop Doggy Dog,
The Fire Engines,
Fad Gadget,
The Smoke,
The Move,
Chris Corsano,
Johnny Clarke,
Model 500,
Bobbi Humphrey,
Peter and Kerry,
New York Dolls,
The Trojans,
Kango’s Stein Massive,
the Slits,
The Raincoats,
Lou Reed,
Sonny Sharrock,
Rites of Spring,
Gong,
Black Flag,
Carl Craig,
Glambeats Corp.,
Dorothy Ashby,
Cymande,
OOIOO,
Jacob Miller,
Intrusion,
Y Pants,
The Neon Judgement,
Amazonics,
Lungfish,
Porter Ricks,
Eric Copeland,
Orchestral Manoeuvres in the Dark,
Man Eating Sloth,
One Last Wish,
John Holt,
Joyce Sims,
Avey Tare,
Alison Limerick,
CMW,
Lalann,
Juan Atkins,
Absolute Body Control,
Pulsallama,
Sight & Sound,
Isaac Hayes,
The Last Poets,
Vaughan Mason & Crew,
Terrestrial Tones,
It's A Beautiful Day,
Deutsch Amerikanische Freundschaft,
The Fortunes,
Barry Ungar,
Danielle Patucci, Danielle Patucci, Danielle Patucci, Danielle Patucci.
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.