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 Belarus and from Copenhagen.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Tokyo and Milan.
I'm losing my edge to the art-school Lyon 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 808 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 Camron Feat. Jay Z And Juelz to the rap kids.
I played it at the Spitz.
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 Sexual Harrassment. All the underground hits.
All Freddie Wadling tracks. I heard you have a vinyl of every The Men They Couldn't Hang 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 '70s cut and another box set from the '90s.
I hear you're buying a clarinet and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Lalo Schifrin record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultra Naté,
Jeru the Damaja,
The Associates,
Rapeman,
John Cale,
Rotary Connection,
Rod Modell,
The Smoke,
Echospace,
Pere Ubu,
Warren Ellis,
Drive Like Jehu,
Lower 48,
Lalo Schifrin,
The Index,
Surgeon,
Motorama,
Black Flag,
U.S. Maple,
Oblivians,
Gil Scott-Heron & Brian Jackson,
Angry Samoans,
Cabaret Voltaire,
Gabor Szabo,
Sparks,
Circle Jerks,
June of 44,
The Fire Engines,
Zapp,
Bauhaus,
Wings,
The American Breed,
Eric Dolphy,
Todd Terry,
The Human League,
The Invisible,
Metal Thangz,
The Slackers,
The Barracudas,
Intrusion,
The Remains,
Kerri Chandler,
Eddi Front,
The Blackbyrds,
The Standells,
The Men They Couldn't Hang,
Boredoms,
Spoonie Gee,
Lonnie Liston Smith,
Pierre Henry,
The Trojans,
The Names,
Scott Walker + Sunn O))),
The Alarm Clocks,
Idris Muhammad,
Kings Of Tomorrow,
Sarah Menescal,
Hoover,
Judy Mowatt,
Manfred Mann's Earth Band,
Rhythm & Sound,
John Lydon, John Lydon, John Lydon, John Lydon.
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.