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 Belgium and from Stockholm.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Lyon and Paris.
I'm losing my edge to the art-school Portland 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 arpeggiator 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 Minnie Riperton to the funk kids.
I played it at the Roxy.
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 Unrelated Segments. All the underground hits.
All The Barracudas tracks. I heard you have a vinyl of every Delta 5 record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Amazonics record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron 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?
Lou Reed,
Vainqueur,
Glenn Branca,
Black Flag,
Kevin Saunderson,
Fort Wilson Riot,
Rosa Yemen,
Q and Not U,
David Axelrod,
Heavy D & The Boyz,
Tubeway Army,
Hardrive,
Lou Christie,
Aloha Tigers,
Lebanon Hanover,
Darondo,
The Cosmic Jokers,
Oblivians,
Second Layer,
The Mighty Diamonds,
Big Daddy Kane,
Jacques Brel,
Kurtis Blow,
Gang of Four,
Franke,
Infiniti,
Joe Finger,
Ohio Players,
The Trojans,
AZ,
Moebius,
Index,
Jandek,
Nas,
Liliput,
Freddie Wadling,
New Age Steppers,
U.S. Maple,
Massinfluence,
MC5,
Lizzy Mercier Descloux,
Banda Bassotti,
Matthew Bourne,
Hasil Adkins,
Ultra Naté,
Andrew Ashong & Theo Parrish,
Marcia Griffiths,
JFA,
Rhythm & Sound,
Minor Threat,
Symarip,
Joyce Sims,
Public Enemy,
Harpers Bizarre,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Sam Rivers,
Gang Gang Dance,
Sad Lovers and Giants,
Bob Dylan,
Colin Newman,
Amon Düül II, Amon Düül II, Amon Düül II, Amon Düül II.
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.