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 Kosovo and from Tehran.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Halifax and Toronto.
I'm losing my edge to the art-school Tehran 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 808 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 Arthur Verocai to the funk 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 Roxette. All the underground hits.
All Mars tracks. I heard you have a vinyl of every Little Man record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an oboe and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a X-102 record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythm & Sound,
Deepchord,
The Velvet Underground,
Kerrie Biddell,
Brothers Johnson,
Janne Schatter,
X-102,
Piero Umiliani,
Letta Mbulu,
Ohio Players,
The United States of America,
The Beau Brummels,
Angels of Light & Akron/Family,
Captain Beefheart & His Magic Band,
The Flesh Eaters,
The Red Krayola,
The Smiths,
Lebanon Hanover,
Wings,
Avey Tare's Slasher Flicks,
Television Personalities,
Gabor Szabo,
The Count Five,
Popol Vuh,
Sad Lovers and Giants,
The Slackers,
B.T. Express,
Ultimate Spinach,
Black Flag,
Hasil Adkins,
The Fortunes,
The Slits,
Sandy B,
Zero Boys,
Nick Fraelich,
These Immortal Souls,
Susan Cadogan,
Derrick May,
Circle Jerks,
Neil Young & Crazy Horse,
The Mummies,
Adolescents,
the Association,
Bizarre Inc.,
The Walker Brothers,
Lakeside,
Maleditus Sound,
Funkadelic,
Nation of Ulysses,
Mantronix,
Schoolly D,
X-101,
Mad Mike,
Moebius,
Selector Dub Narcotic,
Country Teasers,
The Doors,
Fad Gadget,
Erykah Badu,
Mission of Burma,
John Lydon,
The Knickerbockers,
Gian Franco Pienzio, Gian Franco Pienzio, Gian Franco Pienzio, Gian Franco Pienzio.
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.