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 Switzerland and from London.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Copenhagen and Mumbai.
I'm losing my edge to the art-school Philadelphia 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 chamberlin sounds with much patience.
I was there when Captain Beefheart 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 Clear Light to the punk kids.
I played it at CBGB's.
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 Kerri Chandler. All the underground hits.
All Boogie Down Productions tracks. I heard you have a vinyl of every Sister Nancy 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 '60s cut and another box set from the '70s.
I hear you're buying a linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Underground Resistance record.
I hear that you and your band have sold your snare and bought a marimba.
I hear that you and your band have sold your marimba and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Silicon Teens,
Jandek,
Buzzcocks,
Cybotron,
Monolake,
Lee Hazlewood,
Chris Corsano,
Roy Ayers,
Pulsallama,
a-ha,
The Slackers,
the Slits,
Tim Buckley,
Aaron Thompson,
David Axelrod,
Easy Going,
Groovy Waters,
Franke,
Maleditus Sound,
Glambeats Corp.,
Intrusion,
Magazine,
Fear,
Pete Rock & C.L. Smooth,
New Order,
Radiopuhelimet,
Sister Nancy,
Dawn Penn,
Roy Ayers Ubiquity,
Circle Jerks,
Drexciya,
Barry Ungar,
Ituana,
The Smoke,
The Dave Clark Five,
Joensuu 1685,
Lebanon Hanover,
The Leaves,
Neil Young & Crazy Horse,
Sun Ra Arkestra,
Young Marble Giants,
Camron Feat. Memphis Bleek And Beenie Seigel,
Schoolly D,
Country Teasers,
Siglo XX,
Red Lorry Yellow Lorry,
Rhythim Is Rhythim,
Soul Sonic Force,
Desert Stars,
New York Dolls,
The West Coast Pop Art Experimental Band,
Main Source,
Howard Jones,
Pharoah Sanders,
The Modern Lovers,
Supertramp,
ABBA,
Gang of Four,
Bronski Beat,
Tom Boy,
Joe Smooth,
Althea and Donna,
Mantronix,
Steve Hackett,
Flipper, Flipper, Flipper, Flipper.
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.