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 Micronesia and from London.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1978.
I'm losing my edge.
To all the kids in Johannesburg and Shanghai.
I'm losing my edge to the art-school Bologna 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 marimba 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 Interpol to the grime 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 De La Soul & Jungle Brothers. All the underground hits.
All Simply Red tracks. I heard you have a vinyl of every The Mojo Men record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Crime record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Johnny Osbourne,
T. Rex,
Alton Ellis,
Visionaries,LMNO, T- Love & Iriscience,
James Chance & The Contortions,
Maurizio,
Ralphi Rosario,
Silicon Teens,
Country Teasers,
Henry Cow,
Gichy Dan,
Idris Muhammad,
Pantytec,
Throbbing Gristle,
Thompson Twins,
Electric Prunes,
Nils Olav,
Larry & the Blue Notes,
Sex Pistols,
John Cale,
Neu!,
Glambeats Corp.,
Desert Stars,
Girls At Our Best!,
Pharoah Sanders,
Gian Franco Pienzio,
Symarip,
Ohio Players,
Deakin,
Eyeless In Gaza,
OOIOO,
The Zeros,
The Slackers,
The Last Poets,
Scion,
Kauko Röyhkä ja Narttu,
Babytalk,
Ludus,
Quadrant,
Urselle,
Teenage Jesus and the Jerks,
The Electric Prunes,
The Jesus and Mary Chain,
Tom Boy,
the Soft Cell,
Tres Demented,
Bob Dylan,
The Slits,
Blancmange,
K-Klass,
Minor Threat,
Gary Puckett & The Union Gap,
Motorama,
Technova,
The Toasters,
Kayak,
De La Soul & Jungle Brothers,
Sandy B,
DJ Sneak,
Yellowson, Yellowson, Yellowson, Yellowson.
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.