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 Guinea and from Manila.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Stockholm and Johannesburg.
I'm losing my edge to the art-school Paris 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 1976 at the first Feelies practice in a loft in Haledon.
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 Brass Construction to the techno kids.
I played it at the Crocodile.
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 Slave. All the underground hits.
All The Doors tracks. I heard you have a vinyl of every Lou Reed 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 '50s cut and another box set from the '90s.
I hear you're buying an organ and an arpeggiator 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 clarinet and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Donald Byrd,
Nirvana,
Gabor Szabo,
Amazonics,
The Fuzztones,
Can,
Pulsallama,
Franke,
Sexual Harrassment,
The Monks,
Spandau Ballet,
Derrick May,
Wasted Youth,
The Remains,
Major Organ And The Adding Machine,
Sällskapet,
Ornette Coleman,
Reagan Youth,
Sad Lovers and Giants,
Graham Central Station,
Byron Stingily,
Funkadelic,
Loose Ends,
Oblivians,
ABBA,
The Divine Comedy,
Circle Jerks,
Qualms,
Lou Reed & John Cale,
Metal Thangz,
Kurtis Blow,
This Heat,
Dark Day,
Groovy Waters,
The Chocolate Watch Band,
Pussy Galore,
The Sound,
The United States of America,
Kerrie Biddell,
Grandmaster Flash,
Eric Copeland,
Flipper,
Rites of Spring,
Stetsasonic,
Stereo Dub,
Stockholm Monsters,
The Birthday Party,
The Fire Engines,
Theoretical Girls,
The Happenings,
Bobbi Humphrey,
Althea and Donna,
The Saints,
The Knickerbockers,
Soul II Soul,
Black Pus,
Lafayette Afro Rock Band,
Sugar Minott,
Wire,
B.T. Express,
Bobby Hutcherson,
A Flock of Seagulls,
Cecil Taylor,
The Cramps, The Cramps, The Cramps, The Cramps.
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.