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 Bahamas and from Shanghai.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Tokyo and Tokyo.
I'm losing my edge to the art-school Winnipeg 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 güiro sounds with much patience.
I was there when Holger Czukay 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 Swell Maps to the punk kids.
I played it at the Roxy.
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 Magazine. All the underground hits.
All Dead Boys tracks. I heard you have a vinyl of every Gang Starr record on German import.
I heard that you have a white label of every seminal grunge 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 linndrum and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Crime 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?
Spoonie Gee,
Sonic Youth,
Gil Scott-Heron & Brian Jackson,
Tropical Tobacco,
Graham Central Station,
The Last Poets,
James White and The Blacks,
Fugazi,
Bill Wells,
Circle Jerks,
Gil Scott Heron,
David Axelrod,
New Age Steppers,
Niagra,
Idris Muhammad,
The Leaves,
Essential Logic,
Peter Gordon & Love of Life Orchestra,
Nas,
The Saints,
The Mojo Men,
Kango’s Stein Massive,
Loose Ends,
Kerrie Biddell,
Funkadelic,
Second Layer,
Cymande,
Moss Icon,
Trumans Water,
Echo & the Bunnymen,
The Slits,
The Divine Comedy,
the Slits,
the Normal,
Blancmange,
Sun Ra Arkestra,
F. McDonald,
Ice-T,
DeepChord presents Echospace,
Organ,
The Gories,
Vladislav Delay,
Masters at Work,
Harmonia,
Lyres,
Donald Byrd,
June Days,
Richard Hell and the Voidoids,
Lizzy Mercier Descloux,
The Vogues,
Ponytail,
The Pop Group,
The Barracudas,
Brass Construction,
MDC,
The Flesh Eaters,
The Happenings,
Ken Boothe,
The Monks,
The Walker Brothers,
Scan 7,
Super Lover Cee & Casanova Rud, Super Lover Cee & Casanova Rud, Super Lover Cee & Casanova Rud, Super Lover Cee & Casanova Rud.
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.