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 Lebanon and from London.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Spokane and Mexico City.
I'm losing my edge to the art-school Columbus 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 snare 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 Qualms to the funk 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 Derrick Morgan. All the underground hits.
All Smog tracks. I heard you have a vinyl of every Echo & the Bunnymen record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Brand Nubian record.
I hear that you and your band have sold your linndrum and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric Dolphy,
The Moody Blues,
Anthony Braxton,
The Dirtbombs,
Masters at Work,
Rhythim Is Rhythim,
Yellowson,
Traffic Nightmare,
a-ha,
The Black Dice,
Black Flag,
The Cure,
Faraquet,
Sparks,
Lakeside,
Con Funk Shun,
Yaz,
Rapeman,
Darondo,
Dorothy Ashby,
Susan Cadogan,
Jesper Dahlbäck,
Lucky Dragons,
Monks,
Siouxsie and the Banshees,
Technova,
MDC,
Gong,
The Gap Band,
Bob Dylan,
MC5,
Moby Grape,
Juan Atkins,
UT,
The American Breed,
The Red Krayola,
In Retrospect,
Matthew Halsall,
Malaria!,
Ohio Players,
Kool G Rap & DJ Polo,
Terror Squad Feat. Camron,
The Alarm Clocks,
Thompson Twins,
Khruangbin,
Fat Boys,
Leonard Cohen,
The Fire Engines,
The Mummies,
Sly & The Family Stone,
The Grass Roots,
The Dead C,
Gang Gang Dance,
Dawn Penn,
The Modern Lovers,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Idris Muhammad,
Maurizio,
Public Enemy,
Avey Tare's Slasher Flicks,
Hoover,
The Doors, The Doors, The Doors, The Doors.
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.