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 Oman and from New York.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Tokyo and Johannesburg.
I'm losing my edge to the art-school Taipei 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the chamberlin 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 Liaisons Dangereuses to the disco 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 Eve St. Jones. All the underground hits.
All Kool Moe Dee tracks. I heard you have a vinyl of every Lee Hazlewood 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 '60s cut and another box set from the '80s.
I hear you're buying a güiro and a snare and are throwing your macbook out the window because you want to make something real. You want to make a John Foxx record.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Heavy D & The Boyz,
Piero Umiliani,
a-ha,
The Star Department,
The United States of America,
Sly & The Family Stone,
Monks,
Ohio Players,
Jandek,
Soul II Soul,
Camberwell Now,
Dorothy Ashby,
Wasted Youth,
Man Parrish,
The Men They Couldn't Hang,
Kevin Saunderson,
L. Decosne,
The Names,
Brass Construction,
DNA,
The Motions,
Swell Maps,
Funky Four + One,
8 Eyed Spy,
Trumans Water,
The Move,
The Techniques,
Aloha Tigers,
Essential Logic,
Frankie Knuckles,
Khruangbin,
EPMD,
Flipper,
Cal Tjader,
Organ,
Roy Ayers Ubiquity,
David Axelrod,
Super Lover Cee & Casanova Rud,
Wally Richardson,
Judy Mowatt,
Half Japanese,
F. McDonald,
Barry Ungar,
MDC,
Jawbox,
Amon Düül II,
The Mummies,
Camron Feat. Memphis Bleek And Beenie Seigel,
Whodini,
Todd Rundgren,
James White and The Blacks,
Jacob Miller,
Minor Threat,
Siglo XX,
Audionom,
Skarface,
The Golliwogs,
Au Pairs,
Vainqueur,
Henry Cow,
Alison Limerick, Alison Limerick, Alison Limerick, Alison Limerick.
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.