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 Mali and from Lyon.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Spokane and Glasgow.
I'm losing my edge to the art-school Mumbai 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the rhodes 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 Gian Franco Pienzio to the grunge kids.
I played it at the Hacienda.
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 Desert Stars. All the underground hits.
All The Monks tracks. I heard you have a vinyl of every Malaria! 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 '50s cut and another box set from the '90s.
I hear you're buying an oboe and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Skaos record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minutemen,
Neil Young,
Unwound,
Rapeman,
The Golliwogs,
Mo-Dettes,
Nas,
Quando Quango,
Popol Vuh,
The Cure,
Spandau Ballet,
Man Parrish,
Sun City Girls,
Pussy Galore,
It's A Beautiful Day,
Technova,
Prince Buster,
Gil Scott-Heron & Brian Jackson,
Pierre Henry,
The Neon Judgement,
Camron Feat. Memphis Bleek And Beenie Seigel,
Funky Four + One,
The Sonics,
La Düsseldorf,
Underground Resistance,
The Doobie Brothers,
Connie Case,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Sound Behaviour,
The Fuzztones,
Rowland S Howard / Lydia Lunch,
Neu!,
The Leaves,
Fear,
The Selecter,
Oblivians,
Rites of Spring,
Jesper Dahlbäck,
Donny Hathaway,
The Five Americans,
Fort Wilson Riot,
Avey Tare's Slasher Flicks,
Yaz,
Sun Ra Arkestra,
Funkadelic,
David Axelrod,
Wire,
Jesper Dahlback,
The Alarm Clocks,
Big Daddy Kane,
The Associates,
Gastr Del Sol,
Bizarre Inc.,
Fifty Foot Hose,
Ohio Players,
Jimmy McGriff,
Von Mondo,
Sight & Sound,
Audionom,
The Velvet Underground,
Quantec,
Dorothy Ashby,
The Standells, The Standells, The Standells, The Standells.
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.