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 Vanuatu and from Portland.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Lagos and Mumbai.
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 linndrum sounds with much patience.
I was there when David Bowie 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 Ohio Players to the rap 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 Masters at Work. All the underground hits.
All Sonic Youth tracks. I heard you have a vinyl of every Masters at Work 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 '70s.
I hear you're buying an oboe and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Isaac Hayes record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Adolescents,
Blake Baxter,
DNA,
Shuggie Otis,
Ajijia Myrayebe,
The Tremeloes,
Sad Lovers and Giants,
Red Lorry Yellow Lorry,
Gil Scott-Heron & Brian Jackson,
Section 25,
Goldenarms,
Rotary Connection,
Malaria!,
Liaisons Dangereuses,
Jacob Miller,
Scion,
Johnny Clarke,
Intrusion,
Eddi Front,
The Moody Blues,
Lakeside,
cv313,
Monolake,
The Evens,
Masters at Work,
Avey Tare & Kría Brekkan,
Jawbox,
Pierre Henry,
Eyeless In Gaza,
Subhumans,
Average White Band,
Kayak,
Clear Light,
Grandmaster Flash and the Furious Five,
A Flock of Seagulls,
L. Decosne,
Technova,
Faraquet,
Joe Finger,
The Leaves,
Pet Shop Boys,
The Detroit Cobras,
The Red Krayola,
Rosa Yemen,
The Neon Judgement,
Marshall Jefferson,
Q65,
The United States of America,
Eric B and Rakim,
Graham Central Station,
Skarface,
Fela Kuti,
Vladislav Delay,
Colin Newman,
Skaos,
De La Soul & Jungle Brothers,
Bobby Womack,
Selector Dub Narcotic,
Althea and Donna,
Theoretical Girls,
Pantaleimon,
Glambeats Corp., Glambeats Corp., Glambeats Corp., Glambeats Corp..
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.