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 Ghana and from Houston.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1979.
I'm losing my edge.
To all the kids in Woodstock and Madrid.
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 clarinet sounds with much patience.
I was there when Captain Beefheart 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 Grey Daturas to the funk kids.
I played it at Cafe Wha.
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 Joyce Sims. All the underground hits.
All Babytalk tracks. I heard you have a vinyl of every Joey Negro record on German import.
I heard that you have a white label of every seminal rock 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 an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Liaisons Dangereuses record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Roy Ayers Ubiquity,
Q65,
X-Ray Spex,
Derrick Morgan,
Hardrive,
Reagan Youth,
The Shadows of Knight,
Pagans,
Terry Callier,
UT,
Donald Byrd,
New Age Steppers,
Rapeman,
Mo-Dettes,
Buzzcocks,
Notorious Big And Bone Thugs,
The Alarm Clocks,
Johnny Osbourne,
The West Coast Pop Art Experimental Band,
The Last Poets,
Selector Dub Narcotic,
Larry & the Blue Notes,
Echo & the Bunnymen,
Harpers Bizarre,
Sexual Harrassment,
Spandau Ballet,
Country Joe & The Fish,
Underground Resistance,
Youth Brigade,
B.T. Express,
Bang On A Can,
The Toasters,
The Peanut Butter Conspiracy,
Ten City,
The Jesus and Mary Chain,
Alton Ellis,
X-102,
Letta Mbulu,
Toni Rubio,
It's A Beautiful Day,
DJ Style,
The Detroit Cobras,
Pharoah Sanders,
Jerry's Kids,
Barrington Levy,
DNA,
Thinking Fellers Union Local 282,
Depeche Mode,
Liliput,
Jimmy McGriff,
Dawn Penn,
Country Teasers,
Infiniti,
the Fania All-Stars,
The Music Machine,
Make Up,
Amon Düül,
One Last Wish,
Alphaville, Alphaville, Alphaville, Alphaville.
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.