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 Romania and from Paris.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1969 to 1971.
I'm losing my edge.
To all the kids in Shanghai and Jakarta.
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 Holger Czukay 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 Man Parrish 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 Ludus. All the underground hits.
All Cal Tjader tracks. I heard you have a vinyl of every Kurtis Blow record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
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 KRS-One record.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New Order,
Toni Rubio,
Roger Hodgson,
Von Mondo,
Ultramagnetic MC's,
Cecil Taylor,
Black Pus,
Icehouse,
Fatback Band,
Orchestral Manoeuvres in the Dark,
John Holt,
Fear,
Stockholm Monsters,
Pagans,
Spandau Ballet,
Mission of Burma,
Electric Prunes,
Sarah Menescal,
the Normal,
Judy Mowatt,
The Evens,
Lou Reed,
Swans,
Jeru the Damaja,
Aswad,
Newcleus,
Outsiders,
Public Enemy,
Flamin' Groovies,
Röyhkä ja Rättö ja Lehtisalo,
Larry & the Blue Notes,
Essential Logic,
Harmonia,
Todd Terry,
Gregory Isaacs,
The Fuzztones,
Dawn Penn,
Little Man,
Mantronix,
Jerry Gold Smith,
Soft Cell,
Jacob Miller,
Jesper Dahlbäck,
Dark Day,
Rosa Yemen,
Nils Olav,
Main Source,
Neu!,
Chris & Cosey,
FM Einheit,
Kerri Chandler,
Tropical Tobacco,
The Saints,
Flipper,
Average White Band,
John Lydon,
Clear Light,
The Men They Couldn't Hang,
Avey Tare & Kría Brekkan,
E-Dancer,
Massinfluence,
The Cramps,
Bob Dylan, Bob Dylan, Bob Dylan, Bob Dylan.
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.