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 Malta and from Tehran.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1978.
I'm losing my edge.
To all the kids in Tokyo and Manchester.
I'm losing my edge to the art-school Edmonton 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 guitar sounds with much patience.
I was there when Nile Rodgers 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 Faraquet to the grime kids.
I played it at Trash.
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 FM Einheit. All the underground hits.
All Ornette Coleman tracks. I heard you have a vinyl of every Wire record on German import.
I heard that you have a white label of every seminal funk 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 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 Severed Heads record.
I hear that you and your band have sold your sitar and bought an oboe.
I hear that you and your band have sold your oboe and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stetsasonic,
The Seeds,
The Last Poets,
The West Coast Pop Art Experimental Band,
Röyhkä ja Rättö ja Lehtisalo,
Livin' Joy,
CMW,
The Music Machine,
Mandrill,
Rod Modell,
The Martian,
John Lydon,
Brick,
Yusef Lateef,
Kas Product,
Little Man,
Quantec,
Wasted Youth,
the Sonics,
The Chocolate Watch Band,
Art Ensemble Of Chicago,
Gary Puckett & The Union Gap,
London Community Gospel Choir,
Scratch Acid,
Barry Ungar,
Boz Scaggs,
Thompson Twins,
Teenage Jesus and the Jerks,
Alton Ellis,
Kango’s Stein Massive,
Max Romeo,
Qualms,
Bootsy's Rubber Band,
Reagan Youth,
Barclay James Harvest,
Pulsallama,
Underground Resistance,
Lou Christie,
Frankie Knuckles,
Pantaleimon,
Stereo Dub,
Maurizio,
Sunsets and Hearts,
Zapp,
Peter Gordon & Love of Life Orchestra,
Infiniti,
Andrew Ashong & Theo Parrish,
MDC,
Harmonia,
The Detroit Cobras,
Aural Exciters,
Jacques Brel,
Mary Jane Girls,
Ten City,
The Evens,
Crooked Eye,
The J.B.'s,
Blancmange,
The Residents,
The Busters,
New York Dolls,
H. Thieme, H. Thieme, H. Thieme, H. Thieme.
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.