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 Ecuador and from Columbus.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Taipei and Spokane.
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 1973 at the first Television practice in a loft in New York.
I was working on the theremin sounds with much patience.
I was there when Donald Fagen 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 Sugar Minott to the dance kids.
I played it at the 40 Watt.
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 Khruangbin. All the underground hits.
All Notorious Big And Bone Thugs tracks. I heard you have a vinyl of every Isaac Hayes 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 '70s.
I hear you're buying a snare and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Remains record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David Bowie,
Minutemen,
Mary Jane Girls,
Donny Hathaway,
Pharoah Sanders,
Sugar Minott,
Make Up,
The Gories,
Bobbi Humphrey,
the Slits,
Siouxsie and the Banshees,
The Real Kids,
Boogie Down Productions,
Barry Ungar,
Gil Scott Heron,
Buzzcocks,
Reagan Youth,
Cal Tjader,
Bizarre Inc.,
David McCallum,
Iggy Pop,
Notorious BIG live in Amsterdam,
Hoover,
Letta Mbulu,
Japan,
Lakeside,
Cluster,
Lower 48,
Man Parrish,
The Smiths,
One Last Wish,
Unwound,
Monks,
Todd Terry,
Rhythm & Sound,
Franke,
The Mighty Diamonds,
The Fuzztones,
Roxette,
Jeff Mills,
Roxy Music,
Larry & the Blue Notes,
Max Romeo,
The Durutti Column,
Alton Ellis,
Easy Going,
Pussy Galore,
Nas,
Mo-Dettes,
The Stooges,
The Beau Brummels,
Marcia Griffiths,
Black Flag,
The Searchers,
The Gladiators,
Sonic Youth,
Eyeless In Gaza,
Ash Ra Tempel,
De La Soul & Jungle Brothers,
Tropical Tobacco,
Dr. Dre and Snoop Doggy Dog,
Ohio Players,
Althea and Donna, Althea and Donna, Althea and Donna, Althea and Donna.
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.