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 Equatorial Guinea and from Manila.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Lagos and Taipei.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the linndrum sounds with much patience.
I was there when Donald Fagen 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 Bobbi Humphrey to the punk 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 Gil Scott-Heron and Jamie xx. All the underground hits.
All Kerri Chandler tracks. I heard you have a vinyl of every B.T. Express record on German import.
I heard that you have a white label of every seminal rock 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 mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Audionom record.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Byron Stingily,
Sexual Harrassment,
John Foxx,
The Beau Brummels,
Dead Boys,
Country Joe & The Fish,
Slick Rick,
Soft Machine,
Anthony Braxton,
OOIOO,
Wire,
Heavy D & The Boyz,
Prince Buster,
Babytalk,
Pantaleimon,
The Doobie Brothers,
Eric Dolphy,
Lucky Dragons,
Sixth Finger,
New Age Steppers,
The Smoke,
Ultramagnetic MC's,
Boredoms,
Arab on Radar,
Metal Thangz,
The Fire Engines,
Ten City,
Chrome,
Arcadia,
Banda Bassotti,
The United States of America,
Intrusion,
Radiopuhelimet,
John Holt,
Bobby Womack,
Althea and Donna,
Peter and Kerry,
Henry Cow,
Lee Hazlewood,
Lalann,
Tommy Roe,
X-101,
Sarah Menescal,
Gregory Isaacs,
Robert Görl,
Ralphi Rosario,
Grauzone,
Robert Wyatt,
Flash Fearless,
Al Stewart,
Barry Ungar,
Jacob Miller,
James Chance & The Contortions,
Groovy Waters,
Drexciya,
Rahsaan Roland Kirk,
Isaac Hayes,
The Litter,
Strawberry Alarm Clock,
Franke,
The Pretty Things,
Barclay James Harvest,
Danielle Patucci,
The Monochrome Set, The Monochrome Set, The Monochrome Set, The Monochrome Set.
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.