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 Cambodia and from Madrid.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Toronto and Edmonton.
I'm losing my edge to the art-school Johannesburg 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 rhodes sounds with much patience.
I was there when Robert Palmer 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 New Age Steppers 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 The Birthday Party. All the underground hits.
All Fat Boys tracks. I heard you have a vinyl of every Von Mondo record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Notorious Big And Bone Thugs record.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Neon Judgement,
De La Soul & Jungle Brothers,
Dead Boys,
Sister Nancy,
Eyeless In Gaza,
Lebanon Hanover,
Siouxsie and the Banshees,
Circle Jerks,
Alton Ellis,
Minny Pops,
The United States of America,
The Pretty Things,
Darondo,
This Heat,
The American Breed,
Sun Ra Arkestra,
Shuggie Otis,
The Shadows of Knight,
Stiv Bators,
Eric Copeland,
Amon Düül,
Slave,
The Royal Family And The Poor,
The West Coast Pop Art Experimental Band,
Sam Rivers,
Glenn Branca,
Joe Smooth,
48th St. Collective,
Jeru the Damaja,
JFA,
Q and Not U,
Tommy Roe,
Marcia Griffiths,
PIL,
Godley & Creme,
X-102,
Josef K,
Thinking Fellers Union Local 282,
Gabor Szabo,
The Cure,
Tomorrow,
Avey Tare & Kría Brekkan,
Schoolly D,
Johnny Clarke,
Altered Images,
The Toasters,
Vladislav Delay,
L. Decosne,
Carl Craig,
Pharoah Sanders,
Swell Maps,
New York Dolls,
Kerrie Biddell,
Cybotron,
Skriet,
Gregory Isaacs,
Blancmange,
Main Source,
Blake Baxter,
Oppenheimer Analysis,
James White and The Blacks, James White and The Blacks, James White and The Blacks, James White and The Blacks.
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.