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 Luxembourg and from Woodstock.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1975.
I'm losing my edge.
To all the kids in Glasgow and Salvador.
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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the synthesizer 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 The Raincoats to the crunk kids.
I played it at the Astoria.
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 Massinfluence. All the underground hits.
All Au Pairs tracks. I heard you have a vinyl of every Mary Jane Girls 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 '50s cut and another box set from the '80s.
I hear you're buying a snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Strawberry Alarm Clock record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba 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?
Sun Ra,
Jerry Gold Smith,
Stereo Dub,
The Gap Band,
Severed Heads,
Eden Ahbez,
Section 25,
Rekid,
Graham Central Station,
Ten City,
Derrick May,
Ornette Coleman,
The Zeros,
Ituana,
Dead Boys,
the Soft Cell,
Don Cherry,
Larry & the Blue Notes,
Black Flag,
Grey Daturas,
Inner City,
Con Funk Shun,
Public Image Ltd.,
Soft Machine,
Lightning Bolt,
Jeff Mills,
K-Klass,
The Beau Brummels,
Sound Behaviour,
The Doors,
The Sound,
Chris & Cosey,
Rahsaan Roland Kirk,
The Leaves,
EPMD,
Unrelated Segments,
Dorothy Ashby,
Carl Craig,
Adolescents,
Roy Ayers Ubiquity,
Ken Boothe,
The Fuzztones,
The Monochrome Set,
Tears for Fears,
Sunsets and Hearts,
Surgeon,
Teenage Jesus and the Jerks,
June Days,
Cluster,
Drive Like Jehu,
Agitation Free,
Gregory Isaacs,
Boredoms,
Patti Smith,
Red Lorry Yellow Lorry,
Urselle,
Beasts of Bourbon,
Pantytec,
Morten Harket,
ABBA, ABBA, ABBA, ABBA.
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.