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 Chad and from Houston.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Woodstock and Edmonton.
I'm losing my edge to the art-school Toronto 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 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 Minutemen to the disco 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 Nick Fraelich. All the underground hits.
All Derrick Morgan tracks. I heard you have a vinyl of every Soft Machine 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 '80s cut and another box set from the '70s.
I hear you're buying a mellotron and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Remains 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?
David Axelrod,
Bobby Womack,
Swell Maps,
Funky Four + One,
Deutsch Amerikanische Freundschaft,
Dorothy Ashby,
Lyres,
Lou Christie,
DJ Sneak,
Scan 7,
Glenn Branca,
Gong,
ABBA,
Major Organ And The Adding Machine,
Pantytec,
Main Source,
Ash Ra Tempel,
Eve St. Jones,
Minny Pops,
Schoolly D,
Avey Tare's Slasher Flicks,
The Knickerbockers,
Brick,
Bang on a Can All-Stars,
The Walker Brothers,
The Kinks,
Zapp,
Beasts of Bourbon,
Sad Lovers and Giants,
Hasil Adkins,
The Selecter,
Infiniti,
Mission of Burma,
Niagra,
Ralphi Rosario,
Animal Collective,
The Names,
The Fuzztones,
The Trojans,
Gang Starr,
Soul Sonic Force,
Joensuu 1685,
Bizarre Inc.,
Boogie Down Productions,
Jeff Mills,
Surgeon,
Eyeless In Gaza,
Freddie Wadling,
Patti Smith,
Sexual Harrassment,
Sarah Menescal,
Yusef Lateef,
Jawbox,
Heavy D & The Boyz,
Eric Dolphy,
a-ha,
World's Most,
T.S.O.L., T.S.O.L., T.S.O.L., T.S.O.L..
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.